.. A - ERIC · arouse interest, it is a most unreliable method of initiating and maintaining....

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41.

DOCLMIENT RESLMEED 032 938 24 PS 002 204

By-Biasini, Americo le; Pogonowski. LeeDevelopm :Int of a Music Curriculum for Young Children. CAREL Arts and Humanities Curriculum DevelopmentProgram for Young Children.

Central Atlantic Regional Educational Lab.. Washington. D.C.Spons Agency-Office of Education (DHEW). Washington. D.C. Bureau of Research.Bureau No -BR -6 -2938Pub Date Jun 69Contract OEC -2 -7 -062938-3058Note- I07p.EDRS Price MF -S050 HC-S545Descriptors-Audio Equipment. Aural Learning. *Curriculum Development. *Curriculum Research. *EducationalObjectives. Elementary School Students, Elementary School Teachers. Fine Arts, Inservice Teacher Education,Music Activities, *Music Education. Program Descriptions. Team Teaching

Objectives of this program were (1) to develop aural sensitivity. (2) to discoverbasic concepts of musical elements and structure. (3) to acquire simple musical skills,and (4) to develop positive attitudes toward music and self. Participants were 689students from all socioeconomic levels, ranging from 2 to 13 years in age. Following aworkshop and planning conference, the Central Atlantic Regional EducationalLaboratory (CAREL) staff. classroom teachers. and music specialists instigated TheDevelopmental Phases of Musical Exploration. The six phases were free exploration,-guided exploration. free improvisation. planned improvisation. reinforcement. andevaluation. The program. using a team teaching approach. utilized a music laboratory,audio equipment. and electronic music. Teachers were evaluated throughquestionnaires, classroom visits, individual teacher consultations. and experiencereports. Students were evaluated by a pre- and posttest. classroom observations.and tapes of musical experiences. Results indicated high teacher and studentinvolvement and students' development of musical creativity and positive attitudestoward music. Aural tests require further analysis. Refinement of the program into apilot process-model curriculum and incorporation of music into a multi-arts corecurriculum were recommended. (DR)

U. & DIVIIITMENT of HEALTH. (Waitron a WELFAREOFFICE OF EDUCATION

THIS DOCUMFAIT HAS BEM REPRODUCED EXACTLY AS RECEIVED FROM THEPERSON OR ORGIAIZATiON ORIGiNATINO IT. POINTS Or VIEW OR OPINIONSSTATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION

WIN OR POLICY.

Development of a Music Curriculum

for Young Children

byAmericole Biasini

andLee Pogonowski

CAREL Arts and Humanities Program

Central Atlantic Regional Educational Laboratory1200 Seventeenth Street, N.W.

Washington, D. C. 20036

June 1969

This paper was published pursuant to contract OEC 2-7-062938-3058between the Central Atlantic Regional Educational Laboratory andthe United States Office of Education, Department of Health,Education and Welfare.

Table of Contents

Rationale of the Approach 1

Teacher Preparation 8

Curriculum Development and Content 16

Evaluation Procedures and Findings 23

Recommendations for Further Curriculum Development 27

Appendix

Volume I

Volume II

FOREWORD

This is one of a series of six volumes which report on Phase Oneof the CAREL Arts and Humanities Curriculum Development Program for YoungChildren. Volumes two through six -- respectively for visual arts, dance,literature, music, and theatre -- document Phase One details of therationale and approach, teacher preparation program, curriculum developmentand contents, evaluation findings, and recommendations for the future.The first volume is an overview of the entire program and outlinesrecommendations for Phase Two.

The U.S. Office of Education funded CAREL to complete Phase Onewhich lasted two years, ending on May 31, 1969. For each component, thisincluded exploratory studies; the preliminary development of curriculamaterials, objectives, and strategies; preparation programs for classroomteachers; classroom tryouts and evaluation of the preliminary curricula;and preparation for controlled pilot testing in the schools. For thesepurposes, CAREL prepared 48 classroom teachers to teach one art componenteach, and explored each of the arts singly, with 2,809 pupils in 27 CARELfield schools for approximately a year.

These programs in the arts andboth content and scope. Two of thedid not even exist in most Americanin generally limited programs whichof pupils.

humanities were truly innovative infive components -- dance and theatre --schools. The other three existed, butdid not nearly meet the expressed needs

Each component discovered that most students were constrained,restricted, and lacked interest in their usual school roles as recipientlearners and repositories of information. The CAREL program developednew roles for students. They could become explorers of the full range ofeach art form, creative and expressive artists, poets, writers, composers,and performers; they were respected as audiences, critics, and evaluatorswith valid feelings, imaginations, and ideas. They were trusted andencouraged to play orchestral and exotic instruments, to use recordingequipment and cameras, to work with professional quality art materials,and to express their own poetry and stories in their own language. Teachersbecame guides with available knowledge, skills, and resources to helpstudents solve their own problems with their own creativity.

The results were almost instantaneous in terms of student excitementand eager involvement. They could be "turned on" within minutes by personalinterest and pride in their new roles. And as exploring, creative, andexpressive self-educators, they also learned more of the classical inform-ation and skills than they ever did in their former roles as recipientsand repositories. Now, for example, a pupil asked his music teacher how

great composers had solved certain problems in beginning a composition.

The pupil then listened to classical recordings for the answers and considered

them for his own composition. This was very much different from listeningto the beginning of classical recordings to memorize answers for a test.

Much remains to be done to develop and refine the CAREL curricula

and especially the preparation programs for classroom teachers. But the

CAREL "way of learning" can provide the essential pupil energy needed fcr

further curriculum development, energy in the kind of pupil interest andexcitement that accompany his musical composition, his work of art, hispoem or story or improvised dramatic role.

Due to the lack of funds, CAREL can not continue into Phase Two.However, it is hoped that the information and findings of these CARELstudies will enable and enhance the continuation by others into the nextphase of an arts and humanities curriculum development program for youngchildren.

Martin Dishart, Ph.D.Program Director

RATIONALE OF THE APPROACH

The Characteristics of Music

The term "music education" is equivocal. While it has one meaning

for the musician-educator, the term has a completely different connotation

to the student. For the educator music education can be defined most simply.

It is a series of exercises and experiences devised to assist the student to

gain skills and knowledge and become involved in the art of music. To the

student, however, music education is the art. His perspective of music as

an art form is derived from his participation in the educational strategies

of the classroom. His opinions, prejudices, needs and interests are largely

shaped by the school experiences. The frame of reference with which he will

judge the worth and quality of music is formed by his educational program.

Antecedent to all other curricular concerns, therefore, is a clearly

defined position on the nature of music. Since the students' terms of

understanding are the fundamental concern, all educational substance and the

structure of the study must be planned to honestly represent the nature and

character of music. The study must clearly reflect those basic qualitieswhich give meaning, endurance, and importance to the art.

Throughout the long history of music there have always been present

three dominant characteristics. First, music is an expressive medium. Through

a distinctly unique and forceful language of sound, it conveys ideas and

feeling. It is a way of knowing and experiencing, but it is also a method ofcommunicating, of addressing the spirit of man. Because music has the powerto affect man's mind and emotions with a unique intensity and breadth, the

expressive content of music can not be translated into verbal terms. As

Mendelssohn has said, "the thoughts which are expressed to me by music . . .

are not too indefinite to put into words, but on the contrary, too definite."

The second characteristic of music is found in its continuing nature.It has existed as a reflection of man's experience and expressive desires foras long as our history records. It exists today, not only as a curatorialexhibition of historical times and other societies, but as a contemporary,living, and vital expressive medium. Most important is the fact that musichas always been sensitive to those contemporary conditions and social structuresof the time of its creation. As society changed so has the means, but notthe intrinsic nature, of the art. It has evolved new patterns, new modes, andnew techniques of organization in order to meet the new tempi, structures, andpressures of life and society. Music is a continuing art, always sensitive toand interpreting the present. It is neither a static medium nor a completedmoment of the past. Aaron Copeland describes it as, " in a continualstate of becoming."

The third characteristic of music, perhaps the most important incurricular formation, is suggested by the first two. Music is a constantsearch for creative expression. Every significant musician through history

1

has sought to extend the means of the art. He has not been content to merely

duplicate the systems and idiomatic practices of his predecessors, but has

found new means to meet the expressive demands he felt. Often this search

has produced radical changes in music. Ideas of dissonance and consonance

have been contradicted, and structural practices have been discarded as new

expressive forms have arisen. Sound sources, rhythmical formations, harmonic

textures, and even the relationships of the basic elements have undergone many

revolutions. The 'pace of this search for new means within the art has been

commensurate with the pace of man's total creative evolution. Today this

search is undoubtedly the primary concern of the art.

These three fundamental qualities, the expressiveness, the continuing

and current nature, and the vitality of the creative search, are the most in-

herent characteristics of music. They must, therefore, be the most immediate

responsibilities of the study, underlying every classroom experience and

evident through every educational strategy.

The Nature of the Learning Program

With the vital musical requisites for the study clearly defined in the

foregoing, several factors concerning the nature of the learning program be-

come evident. Immediately obvious is the requirement of breadth. Most

urgently, the study must enable the student to "think" in the medium of music;

he must have a conceptual grasp of the nature of the medium and understand the

language of musical sounds. Simultaneously, the study must provide for growth

of the power of activity within the means of the art. The power to act, to

operate as a musician, is essential not only for its own value in allowing

personal participation, but as a process for the development of understanding.

The student must develop his capabilities to create, perform, conduct and be

otherwise actively involved in the various musical processes if he is to

fully grasp the medium. Without this personal active involvement the studentbecomes merely a musical spectator. While spectatorship may occasionallyarouse interest, it is a most unreliable method of initiating and maintaining

intrinsic concern.

In addition to the demand for breadth in variety of experience, thecontinuing nature of music demands a broad use of musical materials. Both

the rich heritage and the contemporary vitality must be fused in the studyin such a way that the student develops a clear and unrestricted view of thetimelessness of the art. This quality of the art, however, is not contingenton the timelessness of any one musical work. Any composition, or manycompositions, are not the art, they are but moments in its history. Whether

a piece is forgotten in time or continues in the repertoire, the art remainsand continues to evolve. This perspective is best demonstrated in the fieldof literature where the works of Chaucer, Shakespeare, and Milton are notpretentiously positioned to the exclusion of contemporary verbal and artisticachievements. They are known as significant moments in the lineage ofliterary achievement. Their values are recognized but their form andlanguage are not imposed on the student of today.

2

This necessity for breadth:continues into the area of structural and

manipulative techniques. To base the study, expecially the earliest stages,

predominantly on rules of meldaib, harmonic, and rhythmic procedure which have

not been used seriously by composers for at least six decades is to falsely

represent the art. This forces the child to establish prejudicial judgments

of right or wrong in music based solely on idiomatic practices. It is far

more consistent with the art that the student's judgments be formed on the

broadest principles of expressiveness, form, balance, and t.msion for which

any idiomatic practice is but one composer's solution.

This requisite of breadth is stressed because two great dangers exist in

the development of an effective learning program. The first is intellectual

closure which occurs when the child's perspective is narrowed by restricted

experience or an overemphasis on systematic procedures. Closure develops when

the student's education narrows rather than broadens his intellectual

curiousity - when his insights are so confined he is unwilling or unable

to make judgments of new exp&a6nces.

The second danger is that the means of learning may become the end.

This is of particular concern in the area of performance. Because of the

physical demands and pressures of time required to develop instrumental or

vocal technique, dexterous accomplishments are often substituted for musical

insight. This situation may exist:not only in the second grade where masteryof isolated musical skills, such as pitch production, becomes the student's

goal, but at all levels.

Similarly, mastery of notation, a complex system of symbolism for thetranscription and recall of notes, can so dominate the study that the reasonfor the symbolism becomes obscured. Note reading is substituted for conceptualunderstanding, and rhythmic computation, often divorced from a musical context,becomes a major activity.

The third characteristic of mukic, the consistent search to extend andexpand the means of the art, clarifiea-,the 'attosphere of learning which mustdominate the study. The student must not. be trapped by static methodologieswhich largely demand rote responses or recognition of commonplace factors. The

study must be filled with the action of discovery. It is far more importantin the classroom that the student regard himself as a creative musician, ex-perimenting, interpreting, and discovering for himself the concepts andpotentials of the art, than that he follow any prescribed pattern of teacher-dominated instruction. The essence of the art of music becomes most clear whenthe student explores for himself the.nature of the interaction of the elementsof music and becomes involved as a creative musician in a personal search formusical meaning. Studies devoted to an analysis of the experience of othersor confined to performance of music are simply inadequate to convey theintrinsic and viable nature of the art. The atmosphere of learning must beone in which active exploration and personal discovery are the fundamentalprocesses for learning. As Kline has said, "The logic of discovery is far moreexciting than the logic of the discovered." 1

'Morris Kline, Mathematics, A Cultural Approach. (Reading, Mass.:

Addison Wesley Publishing Company, Inc., 1962.)

3

In summary, the study must provide the student with the fullest

experiences in music as dictated by he nature of the art. He must become

involved in the total process, composing, performing, conducting, listening

with critical awareness, and evaluating. His participation in these

activities must always be in the spirit of a musician, not an imitator.

The study must deal with the inherent concepts of the art and be so formulated

that the student discovers for himself the nature of interaction and relation-

ship of the elements that bring meaning to music. Finally, the materials of

instruction must be drawn from the total spectrum of the art with primary

emphasis on the materials of today's music. For the strongest bond between

the musical art and the student is a sensitivity to contemporary life.

Objectives

Within this rationale of music and educational responsibility, it

becomes obvious that the primary curriculum must deal fundamentally with

four areas: 1) the development of sensitivity to sounds, their interaction

and musical nature; 2) an understanding of basic concepts of musical elements

and their combination and manipulation; 3) the acquisition of the simple

skills which allow the student to operate as a creative musician; 4) the

development of positive attitudes toward music and self. These, therefore,

become basic cognitive, skill, and attitudinal objectives of the primary

music program.

1. Aural sensitivity.

Since sound is the language of music it is imperative that the

educational program deal heavily with an exploration of sounds

in a musical framework. It is essential that the child learns

through experience not only to discriminate but to make analytical

musical judgments about sounds and becomes involved in judicial

and creative judgment regarding their interaction and expressive

manipulation. Expected outcomes must always reflect breadth of

experience rather than a sequence of structure. The emphasis is

on an exploratory learning program, conceived of and designed in

terms of process.

2. Musical concepts.

Through a sensitivity to sounds, it is possible for the student to

participate in the discovery of basic concepts of musical elements

and structure. These concepts must be discovered in a total musical

setting which is immediately related to the child's own creative

efforts.

3. Skill development.

Since music exists only in an aural form, each child must gain the

simple skills which allow for a musical realization of his musical

ideas. This includes basic performance skill, conducting skills,

skills of aural discrimination and, to the limited degree demanded

by his own developing insights, translative (notational) skills.

4

4. Attitudes.

In addition to the skill and cognitive objectives described above,

it is urgent that the student develop within himself those attitudes

toward music which assure that the educational experiences have

intrinsic meaning and are personally rewarding. These attitudes

are not only about music but about himself as a creative, responsive,

and respected individual who has the power to control and express

his thoughts and to use music as a medium for personal fulfillment.

Many of these objectives can be gained through the inductive and

exploratory processes employed in the curriculum. From the outset the child

is involved as a musician, free to intuitively explore, to make judgments

and to use his own logic.

Procedures

After considerable investigation which included a summer workshop and

planning conference, CAREL joined with the Manhattanville Music Curriculum

Project (MMCP), a project of national scope funded by the U.S. Office of

Education, which was carrying on extensive curriculum investigation. This

cooperation was most desirable since, while they were dealing primarily with

different age levels (MMCP was concentrating mainly on the upper elementary

and secondary levels), both CAREL and MMCP could profitably interchange ideas

and intellectual and musical resources. Since basic goals and philosophy

also were closely aligned, it was unnecessary for CAREL to duplicate much of

the investigation, materials preparation, and other initial steps which had

already been accomplished by MMCP. It was possible, therefore, to begin on

an operational level with a considerable backlog of experience and information.

An intensive study was conducted by CAREL using the MMCP consultants

and materials to: (1) test the effectiveness of the MMCP curriculum materials

in grades kindergarten through three;(2) test the feasibility of preparing

classroom teachers to teach the new curriculum;(3) develop and field test a

teacher training program for musically untrained teachers. The results of

the study clearly indicated that the MMCP spiral curriculum and sequence of

logic was inappropriate for children at the primary levels. A special

pre-cycle-curriculum consistent with the MMCP philosophy, but more attuned

to the young child's perspective, learning characteristics, and physical

gitif development, needed to be prepared at this time.

Because of the extensive musical demands on the teacher in the MMCP

cycle curriculum, it was presumed that only especially trained music specialists

C\41 could function effectively in the classroom with this educational process.However, the results of the study indicated that the classroom teachers did

operate successfully with the music program at the primary levels of

instruction. They were able to grasp the essence of the educational processcentral to this program; they demonstrated confidence and competence in

Odealing with basic music problems that arose from the students' inquiry aswell as their own creative enterprise; and they exhibited a perspective ofmusic and musical concepts which allowed for exploration, personal judgment,

a) and genuine questioning. This is especially meaningful since in the vast

ca.4 5

majority of classrooms, music at early levels is the responsibility of the

classroom teacher. According to a survey made by the National Education

Association, "In three-fourths of the schools surveyed, the classroom teacher

is solely responsible for some or all of the actual (music) instruction".2

It is thus believed that music should be an integral part of classroom

learning. It should not be a once-a-week special program divorced from the

evolution of daily classroom dynamics. The position of the classroom teacher

is unique. Aware of the potentials and limitations of her students, she can

provide a wide range of open-ended learning experiences in all areas - including

music - tailored to the needs and interests of her students.

The music specialist in this setting serves primarily as a resource

person. She is available to assist the primary classroom teacher in the

specifics of music learning. She can help develop strategies, select related

listening materials, and provide necessary instruments and equipment. She

is also available to teach demonstration lessons in the classroom and to hold

in-service workshops for teachers. In short, the music specialist is the

classroom teacher's principal source of information, support and guidance.

Following the feasibility study, nursery teachers, primary classroom

teachers and music specialists were enlisted to assist the CAREL Music Staff

in the development of a meaningful music curriculum for young children. The

cooperation of all these teachers was an important aspect of the developmental

phase. It allowed for immediate testing of ideas in a number of diversified

situations under a variety of teaching styles. Concurrently all teachers

were encouraged to develop their own ideas and procedures within a broad

framework of educational process. Their discoveries, productivity, and

accomplishments added considerable data to the developmental phase and

resulted in dramatic changes in their teaching styles. A valuable and

enduring part of curriculum development and reform, then, is the process

of creation and thought and unless teachers are involved in both, chances

for effecting change will be slight.

Process

The curriculum being developed is a process for musical involvement

compatible with the nature of learning styles in early childhood. Every

child, to a greater or lesser degree, is capable of creative activity. The

creative impulse reveals itself most freely in a non-judgmental atmosphere,

i.e., one in which the learner is free to explore all the possibilities of

a given situation. The process of invention - discovering or making something

hitherto unknown to mankind - and of reinvention - discovering or making

something hitherto unknown to the individual - are similar processes. The

learning experience, as a result of the process, has special significance for

2NEA Research Bulletin, Vol. 41, No. 2 (May 1963), pp. 56-59.

6

the child as a person - the learning which takes place will involve the

assimilation of something new into himself. It will involve a reorgan-

ization of what was there before. What has been learned may have giventhe learner an enlarged perspective of himself, of his powers and poten-tialities to operate as a creative musician. The learning may have had

many other ramifications, but whether they are large or small the self-

picture has been changed.

In order to become intrinsically involved in music the child mustbe allowed to reinvent it through the processes of creating, performing,listening and judging. The learner must be free to experiment, improvisewith musical ideas, to pursue unproductive avenues of exploration and todiscover for himself that those avenues are unproductive. Exploration andexperimentation lead to self-identification - an awareness of individuallimitations and strengths. As the learner becomes aware that he hassucceeded, in part, in expressing what he has to express, he may gain inconfidence and come to an awareness of his broadening personality by virtueof the recognition of even partial success.

Knowledge arises and becomes organized as the child interacts withhis environment. Piaget maintains that the central idea in the structureof knowledge is the operation. He explains: "Knowledge is not a copy ofreality. To know an object, to know an event, is not simply to look at itand make a mental copy, or image, of it. To know an object is to act onit. To know is to modify, to transform the object, and to understand theprocess of this transformation, and as a consequence to understand the waythe object is constructed. An operation is thus the essence of knowledge; itis an interiorised action which modifies the object of knowledge."3

Piaget's theory leaves little question as to the importance of learningthrough activity. The child comes to an understanding of music throughhis own efforts, i.e., the manipulation of sound-producing materials andexperimentation of musical ideas or notions.

This process of involvement provides for the exercise of intuitive,inductive and deductive thinking. It also allows for personal explorationand discovery as a way of knowing. The student's judgments, efforts, andaccomplishments are measured against his own developing insights ratherthan against static and imposed views.

1Piaget, J. "Cognitive Development in Children: the Piaget Papers."In R. E. Ripple and U.N. Rockcastle (Eds.), Piaget Rediscovered: a reportof the conference on cognitive studies and curriculum development. Ithaca,New York: School of Education, Cornell University, March 1964.

7

TEACHER PREPARATION

Selection of Teachers

It was our considered opinion that participating teachers should

reflect a cross section of those general characteristics found in most

primary teachers generically. We were more interested in participating

teachers as a group possessing all the desirable characteristics deemed

necessary for success than we were with each individual teacher possessing

all these characteristics.' Therefore, we selected our teachers at

varying points along the continua which identify specific criteria as

follows:

1. Interest in teaching music(little or no interest

2. Teaching experience(no experience

3. Teaching style(highly inflexible

4. Classroom environment(teacher-directed

a great degree of interest)

many years of experience)

highly flexible)

pupil-directed)

5. Willingness to comply with requests for written data. (It is

recommended that there be no continuum for this item for it is

essential that all teachers comply with this request if the

curriculum is to be germane and emergent.)

The number of participating teachers and the distribution of composite

characteristics along the continuum vary proportionately with the nature of

the task. Our experience has demonstrated that twelve to fifteen teachers

constitute an ideal group size for the developmental phase. As participating

teachers decrease in number it is recommended that the composite character-

istics be skewed to the right of the continuum.

The application of our criteria for the selection of teachers resulted

in three music specialists and two classroom teachers from the city of

Baltimore; two music specialists and five classroom teachers from the city

of Washington, D. C.; and one classroom teacher from Montgomery County,

Maryland. A more detailed, statistical analysis of these tachers, grade

distribution, and number of pupils appears in the appendix.

'Appendix -i Vol. I, A 1

2Appendix '7.-1 Vol. I, A 2

8

The Workshop Concept

Good morning, Donna

m000rrrrrrnnnnnnnning, Rosemary,

od morning, Cole

Good morning, 7..ee Good

Good morning ,,,,,,,,,, Allie

individuals begin gravitating to various

instruments located throughout the room Good

Dolores enter timpani, Good morn

morning,

g, Sarah

enter xylophone, slide whistle the vocal line continues as

everyone extends a joyous greeting to each other

ood morning

,00G

olieggg

e Goodddd morrningr

ing' Too'Flora

aathy

Good, morning' Good, good moKaaaaa

Good m000rrrnnning

Good mooorrrrin

aaaag, Gay, Gay, Gay, Gaaaaaaaa

aay

further impetus is given the viable extemporization as additional instruments

make their entrances

Good morning, Dolores inner tube cymbals

African drums Good morning, Pat garden hos'e

Good morning, Gay clarinet Good morning, Donna hand drums

siren good morning, Kathy good morning good morning

someone jumps on a chair and begins to conduct the improvisation continues

to develop and to take shape everyone is singing

sound on sound everyone is playing, sound on sound on sound

everyone is singing and playing

density stress silence melody

sound accents polyrhythms release tension

dissonance tension noise polyphony

another conductor comes to the fore and with a commanding homophonic setting of

Good morning - - the "Good Morning Cantata" is brought to a resounding close.

9-

The foregoing is an attempt to recapture the spirit of a sonic

phenomenon called free impr1visation.3 The developmental phase of the

CAREL Music Curriculum got under way with a workshop for participant teachers

on August 12, 1968. A number of free improvisations were scheduled - and

some simply occurred spontaneously_ Haw was it possible to get so many

classroom teachers with a modicum of technique, to perceive musical "data"

clearly enough to affect assimilation and aesthetic structuring of the

data so freely

All musical experiences were organized around the workshop concept.

One of the principal elements in a productive workshop setting is the

psychological climate. It must be non-judgmental, i.e., an atmosphere free

of imposed values and goals, an atmosphere in which the learner is free toexplore all the possibilities of a given sound source or situation. The

creative impulse reveals itself most freely in this climate. The cardinal

rule is that it is impossible to be wrong. The learner must be free todiscover and structure musical ideas and conceptual relationships throughhis own. exploration. It must be understood that noise (creative fallout)is essential to and part of the creative process. It is part of a meansof assimilating and arranging information which leads, ultimately, to thesymbolic codification of artistic expression.

Exploration and experimentation lead to self-identification - anawareness of individual limitations and strengths. Once the learners havean opportunity to discover "themselves" in these terms, the teacher is in

a position to assist them further in the creative process. To facilitatethis process we administered the Attitudinal Assessment Instrument.4 This

device assisted us in identifying our teachers' attitudes about their interestin music, composing music of their own, what constitutes a music curriculum,and their reactions to recorded samples of old and new music unfamiliar tothem, In most cases, teachers were not operational as composers, performersand perceptive listeners; their interests in music were limited; and theirconcepts of a music curriculum were confined to the traditional concepts ofsinging, dancing, listening and note reading,

With this information we provided opportunities for teachers toexercise whatever musical knowledge they possessed in a variety of waysso that they might begin to sense their own personal power as imaginativeand creative people. Through manipulation of the learning environment andrelevant strategies, we introduced our teachers to the processes of music,viz., composing, performing, conducting and critical listening.5 The

non-judgmental atmosphere of the workshop suggested at the outset that any-thing was possible. The learner was free to experiment, to becomesensitive to the materials of music, and to extend his capacity for self-expression. The workshop was thereafter characterized by spontaneous andtotal involvement.

3Appendix Vol. II, A 3

4Appendix Vol. I, A 3


10

At this point it must be understood that free improvisation is nottotally, or in greater part, a random experience or happening. The im-

provisation is shaped and formed by the total musical experience - theinitial impetus which precipitated the improvisation, the nature of theinstruments used, the number of participants, and the heightened sensitivityof the participants to themselves, to each other, and to sound.

It is recommended, therefore, that free improvisation be consideredan integral part of the first steps in introducing classroom teachers tothe creative process. It unleashes the creative impulse, results inheightened receptivity, allows for breadth of exploration, is immediatelyexpressive, and provides for a synthesis and refinement of musical data.In short, the process of free improvisation leads to self-identification -the first step toward self-realization.

In addition to free improvisation, other means were necessary toguide teachers to the discovery of new instruments and procedures fororganizing sound so that early patterns of musical thought and practicewere not allowed to become habitual. The development of more sophisticatedlevels of dexterous skills and skills of aural discrimination were otherfactors which needed attention. These needs were met by the formulationof a developmental schema which we refer to as The Developmental Phases ofMusical Exploration.6 This frame of reference serves as a basis foroperationalizing the creative process, for developing strategies andlearning activities for children, and, as a diagnostic tool, for determininglevels of development and understanding in children. A more completedescription of the DPME appears in section C of this progress report.

Another discrete feature of the CAREL Music Workshop was the explorationof electronic music techniques. Tape recorders served as the principal meansfor gathering electronic sounds and for altering vocal, instrumental and objectsounds. Teachers quickly discovered how to splice tape and to make theirown tape loops, the use of reverberation and echo, alteration of speed toaffect octave displacement, and other tape alteration techniques. Theuse of electronic music, heretofore unused by most of the participantteachers, became common practice by the second day of the workshop.

Finally, the Listening Guided proved to be an invaluable instrument fordirecting attention to musical detail and process. Reactions to plannedperformances focused on the "problem." In free improvisations, discussionfocused on inherent characteristics. In all cases attention was given toanalytical, judicial, and creative considerations. The result was a markedimprovement in aural perception and judgment.

6Appendix - Vol. II, A 3


11

The Music Laboratory

To assist the classroom teacher in providing a stimulating learning

environment for her children it became apparent that major changes in the

traditional classroom arrangement, both psychologically and physically, had

to be considered. Our solution to this problem is the Music Laboratory.

The Music Lab is an educational environment created to allow and motivate

intrinsic involvement, personal growth, and musical insight. It is a :earning

atmosphere where creativity is honored, judgmentmaking is practiced, personal

viewpoints are considered; where music and sincerity are respected, and where

the logic of discovery is considered far more important than the logic of

the discovered. Here the musician's roles are played. Every student becomes

involved in the total process of music: composing, performing, conducting,

listening, enjoying, sharing, and reacting as musicians always have. It is

an experience in the real thing on the level of the student's own capabilities.

The principles of the 'Music Lab are as follows:

1. Discovery is the most productive and exciting means for learning.

2, Conceptual understanding is the main goal of the music curriculum

for all children. It is imperative for intrinsic involvement.

3, The music of our time is the most logical place to begin music

study: It is relevant and pertinent.

4. Totality of experience in the musical process is essential to

the development of musicality.

In the Music Lab there are several unique features:

1. There are several types of related activities which are available

to the student and within certain boundaries he may choose those

things that excite his curiosity and imagination.2. Much of the student's Lab time is not scheduled by the teacher.

This allows the student to exercise his own sense of personal

responsibility in planning his time to meet his own needs.

3, The majority of Lab time is devoted to individual and small group

learning experience, thus freeing the student from the bounds of

the median level of large group instruction.4. The teacher is not constantly the point of focus of the entire

class,, This permits individual perspectives, personal discoveries,and a wide range of judgment-making by the students.

5. More than half of the teacher's time is available for individualcontacts to meet individual needs.

6. Musical concern in the Lab is not divorced from music in the realworld. The Lab encourages and uses a broad spectrum of musicalobservations, musical experience, and out-of-school talent andinvolvement.

7. Many different activities may be going on at the same time in the

Music Lab.8. Student strengths are respected and are utilized in assisting other

students, particularly in the area of skill development.

9. The nature of the various forms of involvement provides that eachstudent can gain respect, both personal and from his peers, as amusician and as a creative individual.

12

Obviously such a forward-looking program demands specific physical

considerations. In order to allow for student freedom there must be a

high level of organization in the class structure and material preparation.

Basic materials, equipment, and the environment must be compatible with

needs. Areas of the room should be established as specific stations for

musical activities. This reduces "wandering" and confusion in classroom

operations. Acoustical problems can be minimized by four fairly economical

means. The floor should be covered by a wall-to-wall carpet; the ceiling

should be sound absorbent; activity carrels should be used in corners; and

the inside wall surfaces of each carrel should be covered with sound

absorbent materials.

To acquaint our teachers with the laboratory concept we identified

specific stations8 for composition, performance, listening, electronic

music, reading, discussion and exploration of new sound sources. Further,

each teacher was given a Workshop Log9 to record her daily activities and

discoveries. These personal accounts of daily involvement served as a

developmental log for the teachers and as a basis for seminar discussions

relevant to their needs and interests.

Team Teaching

Much of the success of our workshop can be attributed to cooperative

planning, constant collaboration and unrestrained communication. We found

the mutual exchange of ideas both stimulating and productive. Openness to

each other's ideas allowed for objectivity in considering viable alternatives

to basic questions. And, finally, we were always prepared to change the

course of the workshop to meet the needs of the participants.

Our cooperative efforts enabled us to learn from each other, thus

increasing our professional competence. The increased intellectual stim-

ulation coupled with the confidence afforded by team teaching encouraged

us to take greater risks in the experimentation of alternatives suggested

by workshop strategies. This resulted in new discoveries, "peak experiences"

and, at times, the realization that some alternatives were unproductive.

In addition, our team teaching allowed for: (1) a constant observer,

both of the students and of the companion teacher directly involved with

students in learning experiences; (2) a broader coverage of any subject in

a discussion; (3) the advantage of supporting the interacting teacher with

audio and visual aides; (4) a broader perspective for participants by ex-

posing them to more than one teaching style.

Daily evaluation provided an opportunity to assess the effectiveness

of workshop strategies and, in light of this, to plan for improved strategy

8Appendix y Vol. I, A 6, A 8, A 9, A 13, A 14


13

design. The following kinds of questions seemed to be most productive:

(1) What were our strengths and weaknesses? (2) Which activities were

most valuable to the participants? (3) How could we structure the success

factor of the strategies into new strategy designs? (4) How could we

meet the individual needs of the participants more effectively? (5) Were

we teaching and operating in a style we could advocate for others?

The amount of time devoted to various workshop activities is shown

on the Aut37tcslicip5cYleduleiorl.1° As indicated by this schedule, a great

deal of time was spent in daily preparation. The reasons were: (1) Partic-

ipating teachers were creatively involved in the planning of strategies.

(2) A high degree of sensitivity and openness to each other's ideas was

maintained. However, predetermined activities did not take precedence when

"discovery" led us into new directions. We operated on the assumption that

everyone has his own logic and that the best learning takes place when people,

under guidance, are allowed to use and follow their own logic.

We feel we were more successful working together than we could have

been working individually. It would have been much more expeditious had we

divided the work, each accomplishing his own tasks. However, continuity would

have suffered and the "peak experiences" which resulted from a deep sense

of human commitment weeded with a love for music would not be on record.

Madison Judson, Headmaster, the Fayerweather Street School, Cambridge,

Massachusetts, stated: "The success of this workshop is not based primarily

on the creative use of strategies, but on the fact that everyone is inter-

acting on a very humane level." This comment was made to the workshop

people at the end of his one-day visitation.

Follow-up Workshops

In addition to the two-week preparatory workshop, four one-day workshops

and one week-long workshop were held throughout the school year. Tapes of

all musical experiences and major discussions held during these workshops

are contained in the music section of the CAREL Arts and Humanities Docu-

mentation Library.

The first follow-up workshop was held in October, 1968, to amplifyteacher cognition and depth of perception. These meetings allowed teachers

to share accomplishments and problems. Teachers developed confidence through

this interaction which allowed for creative growth. Finally, these con-

ferences afforded an opportunity to prepare new materials for classroom useand evaluation. This workshop focused on new sample strategiesll (designed

by the CAREL Music Staff) which reflected felt needs as expressed by teachersand students during our classroom visitations. The November workshop

dealt with new vocal strategies to supplement the work carried out bystudents with instruments, objects and tape recorders. The December work-

shops were devoted to individual teacher conferences to determine individual


11App endix Vol. II, A 4

14

teacher strengths and problems so that the CAREL Music Staff could play a

more direct and meaningful supporting role.12

The Interim-Developmental Workshop, held for a one-week period in

February, 1969, was a significant departure from all previous workshops.

A. multi-arts approach to providing teachers with a basis for devisingmeaningful learning experiences for their children was considered. CAREL

staff members from the art, dance and literature components guided our

teachers through basic experiences in their respective disciplines. 13 The

immediate and long-range effects are noteworthy: (1) Teachers discoveredthey could adapt themselves easily and freely to the related arts. (2) They

were able to identify and appreciate commonalities among the arts. (3) They

were able to perceive and design learning strategies in music from their

experiences in art, dance and literature.

A good deal of the impetus for the Multi-Arts workshop came from theclassroom atmosphere and teaching style of one of our classroom teachers -Mr. Dennis Bryan, who teaches sixth grade at the Armistead Elementary School

in Baltimore, Maryland. Mr. Bryan had a predilection for an arts andhumanities approach and convinced the CAREL Music Staff by the attitudesand behavior of his children that this approach should be shared with all

our teachers, Mr. Bryan was subsequently invited to conduct a full morningsession of the Interim-Developmental Workshop in the techniques and procedures

of his approach.

The final follow-up Workshop, held in March, was devoted to the revisedlistening guides and their use in identifying other inherent concepts inmusic.14 While it is too soon to fully evaluate the efficacy of this furtherextension of the program, early reports from teachers and classr000mobservations by the CAREL Music Staff indicate that these revised listeningguides will assist teachers in, developing greater proficiency in analyticaland judician perception.

Teacher's Role

The success of the program depends upon the sensitivity and competenciesof the teacher. The teacher must realize that she is dealing with otherhuman beings, and not simply with abstract concepts. Her job is to befamiliar with each child's problem and limitations and to design situationsin which the student will first discover the problems or limitations andthen begin to search for solutions. Maximum attention to each learner,therefore, is a necessity.

Only if the teacher is herself engaged in artistic exploration andgrowth can she expect to encourage and guide the growth of others. Themusic workshop immersed teachers in the creative process and encouragedartistic exploration and growth in a non-judgmental climate.

The teacher serves as a guide, a resource person, a creator ofproblems, a stimulator for creative thinking. She does not teach facts, buta method of working and a method of discovering and solving problems. Theteacher does not have the answer; the answers are different for each learner.

12Appendix Vol. II, B 5


14Appendix Vol. I, A 11 and 12

15

CURRICULUM DEVELOPMENT AND CONTENT

Field School Participation

A total of 689 students representing four separate school systems

participated in the developmental phase of the CAREL Music Curriculum for

Young Children. The Washington, D. C. Public School System was represented

by 247 students from 5 different schools; the Baltimore Public School System

was represented by 380 students from 2 different schools; the Montgomery

County Public School System was represented by 37 students from 1 school,

and the Washington International Bilingual School (a private school located

in Washington, D. C.) was represented by 25 nursery school children.

Participating students ranged in age from 2 to 13 years and represented

a wide spectrum of socio-economic levels. The nursery and kindergarten

children attended school in half-day sessions; the remainder of the students

in the program attended school in full-day sessions.

Musical Instruments, Audio Equipment, and Tapes

The feasibility study (page 5 of this report) revealed that students

were extremely sensitive to quality sound and demanded good sound-producing

materials soon after their school music experiences began. Therefore, the

musical instruments provided by the CAREL Music Component to participatingschools for student use were selected with the following criteria in mind:

(1) that their tone quality be pleasing and stimulating; (2) that they presentno insoluble technical problems; (3) that they vary in timbre, materials

and construction; (4) that they enhance creative experimentation and ex-ploration by offering a wide range of sound variation. The application of

these criteria resulted in a wide assortment .of wind, percussion and stringinstruments scaled down to the students' size .1

Students subsequently became musically involved by exploring andmanipulating the huge array of instruments found in their classrooms.Their involvement emerged, for the most part, from a natural curiosity toexperiment with the new sound sources. We suggest, therefore, that thelearning environment be replete with sound- producing materials of sufficientquality to stimulate and sustain the natural inclination of young studentsto investigate new phenomena.

The tape recorder proved to be an invaluable commodity in this edu-cational environment. It was used to record and play back student compo-sitions, to codify musical ideas, and as an instrument to produce, modifyand extend sounds in a number of unique ways. Students found that dis-covering sounds and organizing them with the tape recorder was as satis-fying as performing on conventional or unconventional sound-producingequipment.

lAppendix Vol. II, A 1

16

Many of our teachers did not have a tape recorder available to them

when needed. In addition, most of these tape recorders did not meet minimum

standards for sensitizing students to appropriate concepts in sound repro-

duction. Therefore, the CAREL Music Component requested and secured fromthe United States Office of Education, Division of Educational Laboratories,

sufficient funds to purchase enough tape recorders to equip our experimental

classrooms.

The phonograph proved to be a functional asset in classrooms where it

existed. It was used principally as a focus for a record library centerwhere students listened to records individually or in small groups. Interest-

ingly, students also found the phonograph to be an intriguing source for

sound manipulation.

In classrooms where phonographs did not exist, adequate cqppensationwas made through the use of the tape recorder. Listening tapes, consisting

of short musical examples representing a comprehensive coverage of periods,styles and idioms, were made available for listening pleasure and musicalstimulation. In addition, tapes of children's songs sung by children andaccompanied by professional musicians served to assist classroom teacherswho tended not to engage their classes in singing. These tapes were used toaccompany singing, as background music during play period, and, in some cases,as alternatives in listening material. Undoubtedly these teachers willdiscover other productive uses for these prepared materials before theschool year comes to a close.

Electronic Music

A major objective of the CAREL Music Curriculum is to developchildren's sensitivity to sounds and sound ranges. This is accomplishedbest when children are free to create and manipulate sounds for themselves.This, in turn, aids children in developing their ability to organize soundsinto personally meaningful structures.

Young children are not sufficiently developed in muscular strengthand control to satisfy their curiosity with the conventional instrumentsof the brass and woodwind genre. Therefore, young children are limited tostring instruments scaled down to their size and percussion instruments.While these instruments offer a variety of musical possibilities, the soundranges are limited. Children themselves have discovered this and haverequested a wider range of sound sources.

The electronic music laboratory is a recent development in music.A variety of electronic devices such as synthesizers, tape recorders, ringmodulators, sound wave generators, filters, mixers, oscilloscopes, etc.,have provided composers with unlimited possibilities for sound productionand organization. More recently, a few secondary schools throughout thecountry have been experimenting with electronic compositional techniques.The Masterman School, a public junior high school in Philadelphia, Penn-sylvania, is such a school. Andrew Rudin, Director of the Electronic Music

17

Studio, Philadelphia Musical Academy, commenting on the program at the

MAsterman School, said, "The students involved in the Masterman School's

electronic music project are living proof that the supposed gap existing

between the artist of today and his public need not exist, and will very

probably almost cease to exist in a generation. These students, given the

opportunity to working in pure sound (much as a painter works directly

with paint on canvas) and without the necessity of learning the elaborate

symbol system of traditional notation have produced music that is astonishing

in its imagination and very unselfconscious in technique. It is almost

frightening to contemplate what results these young composers would achieve

if given a full-scale synthesizer to work with. The dozens of pieces yro-

duced already belie the crudity of the machines used: Their very limitations

are used by young ears as assets."2 Encouraged by the results of these

junior high school students and others like them, we decided to conduct a

feasibility study to determine whether younger students could extend their

sound ranges and organizational possibilities into meaningful structuresthrough the use of electronic devices.

Therefore, an experimental electronic music laboratory was estab-lished in one of our second grades. The selection of appropriate elec-tronic devices for this class was based on variety, intrinsic worth and

adaptability to the purposes of the children. These electronic devicesserved as the baV.e equipment in the second grade electronic musiclaboratory.3

Classroom experimentation with the electronic music laboratory beganin late March 1969. While considerable planning preceded the implementationof this experimental program, only preliminary guidelines and basic ideaswere established as a point of orientation. The guidelines and ideas re-lated directly to classroom environment. It was decided that the classoperate in a laboratory manner and that students be given considerablefreedom in their creative pursuits. To make the best use of availablespace and facilities, the classroom was reorganized to provide for anelectronic music center. And finally, it was decided to withhold themore sophisticated electronic equipment, e.g., tone generators, oscillo-scopes, etc., until students had gained operational control of some of thesimpler electronic devices, e.g., sound-on-sound tape recorders, portabletape recorders, headphones, mixers, etc.

As a result of student interest, enthusiasm, adeptness for tech-nological manipulations and creative energy, it was necessary to supplythese second graders with the remaining inventory of electronic equipmentmuch more quickly than initially anticipated. Within a two-week period,all available electronic equipment was operated completely by theseseven- and eight-year-old students.

At this writing, the experimental electronic music laboratory hasbeen in existence for six weeks. In this brief period, the followingoutcomes can be identified: (1) These students have developed a deeper

2Hagemann, Virginia, "Electronic Composition in the Junior HighSchool," Music Educators Journal, Vol. 55, Number 3, (November, 1968), p.86.


18

understanding of the physical nature of sound. (2) They have become

familiar with some aspects of modern technology. (3) They have developed

a sense of electronic devices as potentially useful tools in creative work.

(4) They have developed a heightened awareness of sounds in the environ-

ment, including, but no longer restricted to, the sounds of conventional

musical instruments. (5) They have used their and tactile senses

to clarify and reinforce aural concepts. These students, in short, have

demonstrated that children as young as seven years of age can manipulate

electronic devices at a level of control which yields positive attitudinal,

cognitive and aesthetic results.

Developmental Phases of Musical Exploration

Joanna Parker is five years old. She transferred from

Backus Village Gate to our morning kindergarten class. Joanna

was an unhappy girl and was apparently having as much difficulty

relating to her peers in her new environment as she did in her

last. She uttered not a word for over a month, but gradually

began to lift her head away from her chest high enough to glance

around the room and catch a glimpse of her classmates exploring

instruments every which way, improvising music of their own,

and playing their music in front of a strange machine that played

it back to them.

She was still shy and very withdrawn, but as the days

slipped by her glances became serious observations as she incon-

spicuously began to move about the room to get a closer look at

all the activities. She observed Michael busy with the bongodrums and overheard him say to a group of his friends, "Don't bring

all that work over here near me - I'm practicing. I'm trying to

get a good beat and that's hard!" Michael's friends respectfullytook their instruments to work near the flannel board. Joanna

wandered over to a group of students who had just listened to

"Hoedown" by Aaron Copeland. She caught some of the responses.

"It makes me happy it sounds so good." "It makes me want to

jump up like the instruments did." "It makes me want to dance

all around the living room." "It makes me want to dance on my

head, on my toes, on my thumb." "How about your nose?"

On another day she carefully moved to an area in the roomwhere a group of students playing familiar and unfamiliar instru-ments were struggling to follow two youngsters who were waving

their arms wildly in the air. Finally, the flagging limbs ceased

and the sounds dwindled away. David promptly addressed the two

conductors, "I can't play two ways at once." The next time around

Lisa played the role of the conductor.

19

Joanna's curiosity and growing enthusiasm got the best

of her. Within a short period of time she became an avid explorer

in the world of sound, a contributor to the sound materials center,

a participating performer, and a sensitive listener. Joanna

communicated first with sounds she was able to offer and arrange

into forms pleasing to her and acceptable to the other students.

She grew in confidence and increasingly became more active when

interacting with her environment and peers. By the standards

of her classmates, Joanna is considered a leader. More important,

she now senses her own personal power as an imaginative and

creative person.

The foregoing suggests that the education of the young child is

nurtured, on the one hand, by constant experimentation with the objects and

materials in his environment and, on the other hand, through interaction

with other persons. He begins to develop musical insights, powers and skills

through the manipulation of sound sources, aided by his tremendous curiosity

about the unknown. Experimentation gradually becomes more purposive and

controlled - each student producing recognizably different music from that

of the other students.

Children are interested in the playing of others and learn much from

them. In early group work they play quite separately from each other.

However, as they gain experience in playing together, group improvisation

reaches a level of integrated response it becomes a kind of communication

for the group. Out of this synergy musical ideas evolve and, in subsequent

activities, are nourished and brought to new levels of refinement.

These observations of student involvement in the early stages of

this program indicate that certain psychological and social factors relate

to the production of music and to increased understanding of it. Thus, we

began to identify developmental factors which were formulated into an

operational schema which we call The Develo mental Phases of Musical

Exploration.4 Initially, the purpose of this schema was to assist the

teacher in designing strategies appropriate for guiding her students

through the various phases of musical exploration.

The Developmental Phases of Musical Exploration identifies and

describes six distinct phases of the creative process. Our experience

has shown that the fostering of creativity among children is not contin-

gent upon strict adherence to a given sequence of these phases. Varying

levels of musical knowledge, intuition and interest are but a few of the

factors which account for idiosyncratic patterns of thought and process.

However, it was noted that most children engaged in a common sequence of

phases. On the basis of this empirical evidence, therefore, we submit


20

that the following sequence of phases is the most natural and productive

for young children: (1) free exploration; (2) guided exploration; (3) free

improvisation; (4) planned improvisation; (5) reinforcement; (6) evaluation.

The first phase of the creative process is free exploration. This

is the period which gives the student an opportunity to discover and explore

a wide variety of sound-producing materials without predetermined goals.

His explorations are intrinsic, i.e., they are motivated largely by his

natural curiosity to probe and to experience the unknown. Much of Piaget's

work on concept development indicates that the child learns to understand

his environment by what he does to it, not vice versa. Therefore, the

sounds the student makes himself should be the starting point.

In free exploration, then, the student should be encouraged to

explore the full range of sound sources and to share his discoveries

with the class. Our experience has shown that students will experiment

endlessly with their capabilities for producing sound. Reproducing certain

sounds over and over again gives them clearer understanding, better control

and a great deal of personal satisfaction. The more extensive these

initial experiences are, the more intensive future explorations with new

objects and instruments will become.

The second phase is that 3f guided exploration. As an extension

of free exploration, strategies and materials are designed in this phase

to encourage and guide the student to investigate his sound-producing

materials in greater depth. The motivation for these activities is

extrinsic, i.e., the teacher guides the student in discovering other

exploratory possibilities in a non-judgmental atmosphere. The results

are that the student accumulates a vast number of aural and physical

sensory impressions which add to his ever-increasing frame of reference.

The third stage of the developmental phases of musical exploration

is free improvisation, or, in a sense, exploratory improvisation. At

this stage the student begins to organize his acquired sounds into a

variety of freely structured schemes. This represents the student's

intrinsic concern for creative expression at ever increasing levels of

sophistication and refinement. Some of the musical outcomes are accidental,

others are intentional. He learns by imitation and by adapting ideas to

his own manner of sound production and sequence. As he gains in knowledge

and control he begins to develop a personal idiom or style that lends

itself readily to group improvisation.

In the early stages of group improvisation, each student is primarily

interested in his own unique contribution and is likely to go his own

way, obliterating all competition or interference. However, as this

5Appendix - Vol. II, A 4

21

activity is prolonged over a period of time, the student becomes increasinglysensitive to the sounds around him and begins to relate to them. Group

improvisational characteristics begin to take shape and often evokeheightened emotional responses.

The fourth phase of this process is planned improvisation. As in

guided exploration, the motivation for this phase is largely extrinsic,i.e., the student is given some limitations by the teacher. At times,

the student may set limitations for himself. The purpose of posinglimitations is to assist the student in organizing his musical ideas ina variety of expressive and meaningful ways. He draws from his bank ofaccumulated sounds and ideas to make musical judgments regarding theseproblems. The sophistication of the problems set before the student,therefore, is dependent on his level of musical understanding and ex-periential frame of reference.

The fifth phase is reinforcement. Here the student's attention isdirected to other musical possibilities which require more intensiveinvestigation. Listening examples representing a broad spectrum of musicalperiods, styles and practices are introduced to further extend the student'sframe of reference and new strategies are designed to intensify and broadenthe student's musical insights, so that he becomes aware of new exploratoryand improvisational possibilities - thus recycling the whole creative process.

The sixth stage of the developmental phases of musical explorationis evaluation. This process is not discrete and separate from the firstfive phases, rather it is inherent in all of them. Evaluation encouragesthe student to identify musical experiences which are satisfying to himas well as those which are not. To assist the student in this process,all musical experiences are recorded for playback. When appropriate,quantitative and qualitative aspects of musical results are discussedanalytically, judicially and creatively.

The Developmental Phases of Musical Exploration has proven to be ahighly productive schema. It has assisted teachers in identifyingessential and distinguishing characteristics within the creative process.It has aided teachers in assessing student responses and levels of involve-ment. And it has become the core of an operational reference to guide,shape and stimulate continued growth. As productive as this schema hasbeen, however, further investigators should be sensitive to the possibilityof identifying other developmental needs in children and other educationalvehicles for assisting children in fulfilling their needs.

22

EVALUATION PROCEDURES AND FINDINGS

As explained in the rationale of this report, the CAREL Music

Curriculum for Young Children emphasizes breadth of experience rather

than sequence of structure. This goal, broadly defined, implies that

the learning environment should develop the student's sensitivity to

sounds and sound ranges, develop his ability to organize sounds into

personally meaningful structures, and should teach the student to

utilize his sensitivities to create and manipulate sounds into mean-

ingful forms for himself. With this operational rationale in mind, it

was decided that the student's judgments, efforts and accomplishments

would be measured against his own developing insights rather than against

static or imposed views. Therefore, it was considered unfeasible to

identify objectives in terms which would quantify expected outcomes.

Before constructing new evaluative instrumentation to measure the

direction, nature, and intent of both teacher and student growth, we

asked twenty-nine musicians and music-educators throughout the country

to react critically to our stated goals.' In all cases these professional

musicians and educators responded positively to our goals. The principal

expressed concern was that we specify and quantify these goals as research

findings allow.

Procedures and Findings for Teachers

The principal procedures for evaluating teacher growth and effective-

ness were questionnaires, classroom visitations, individual teacher con-

sultations and experience reports. These materials, in addition to re-

flecting teacher attitudes and behavior, served to demonstrate the effective-

ness of the CAREL Music Curriculum teacher preparation program. For example,

the Questionnaire for Participant Teachers to Help CAREL Improve Future

Music Workshop Programs 2 asked teachers.to tank the most important gains

they believed their pupils would achieve as a result of their having attended

the CAREL Music Workshops; to indicate'whether or not there was a better

way to prepare teachers to teach music to their students; and what CAREL

might do to improve its future preparation of teachers. The gains

identified by teachers were commensurate with the goals mentioned earlier;

all teachers felt the CAREL approach to preparing teachers for teaching

music was excellent; and suggestions for what CAREL might do to improve its

future preparation of teachers ranged from more effective communication

between the CAREL Music Staff and participating school administrators and

staffs to more consideration for a multi-disciplinary approach.

A Classroom Observation Schema3 was designed to: (1) better understand

the teacher's frame of reference when she discussed her classroom experiences,

(2) identify those success factors which were common to all classrooms,

'Appendix Vol. II, B 1



23

(3) identify unique factors which contributed to the success of a program

in a particular classroom exclusive of teacher idiosyncrasies, (4) determine

the degree to which each student senses his own personal power as an

imaginative and creative person, (5) identify the operational level of

each teacher. This schema proved to be invaluable for identifying the

factors mentioned above.

The Individual Teacher Conferences Form4 was designed to determine:

(1) to what extent teachers involved their students in the CAREL Music

Program, (2) what the CAREL Music Program meant to the teachers, (3) what

difficulties teachers encountered in implementing the CAREL Music Program,

(4) what the most successful characteristics of the program are in terms of

pupil involvement, strengthening other areas of study, and in the varietyof musical experiences, (5) how the teachers felt we could assist them

further in developing a meaningful music program for their students.Teachers reported 100% pupil involvement in the CAREL Music Program. As

far as personal meaning is concerned, teachers said they were "feeling life

through music." Some of the problems identified by teachers in implementingthe program were lack of sufficient space and time. Many teachers statedthat they were coordinating music with social sciences, general science,art and literature. And finally, teachers asked for a greater variety ofinstruments, tape recorders, and workshops for other interested teachersin their schools.

First-year Experience Reports5 were requested from all participatingteachers. These reports were intended as comprehensive summaries of eachclassroom situation. The guidelines for these reports asked for commentson new personal and student realizations of self, grouping patterns amongstudents in a variety of learning situations, important outcomes of themusic program, the most meaningful musical experiences, and sound sourcesmost appropriate to various grade levels. Most of the Experience Reportswere not received from participating teachers at the time of this writing.The few we did receive, however, indicated positive teacher and studentgains in terms of developing a sense of power as creative and imaginativepeople; grouping patterns which seem to vary from one level of musicalinvolvement to another; and some notions of relevant strategies and soundsources to be employed at various levels. Greater perception and specificityin these categories should materialize as more reports are received fromteachers.

Procedures and Findings for Students

The principal procedures for evaluating student growth patterns anddirection were a pretest and posttest, classroom observations, and tapes ofmusical experiences submitted by teachers. Before administering the pretest,



24

we obtained all pertinent student data.6 Next we made a detailed check

list for administering the test in an effort to control all variables.

And, finally, a random sampling technique was devised to secure six students

from each of ten classrooms.8

The pretest and posttest were divided into two parts. The first part

was a student questionnaire.) which was designed to determine the student's

frame of reference; to assess analytical, judicial and creative thinking;

to determine to what extent the student was involved as a musician, i.e.,

composer, performer, conductor, critic; and to identify attitudes related

to these activities.9 The verbal responses by students differed markedly

on this portion of the pretest and posttest. The pretest (administered on

September 16-20, 1968) revealed that the students' frames of reference

generally were limited to traditional school music activities, viz.,

singing, listening and tuneful melodies. Their responses to new musical

stimuli generally had little or no musical referral. Comments such as,

"That was weird." "Sounds like something from outer space," were commonplace.

And in most instances students indicated they had done no composing, no

conducting, very little performing except in singing, and very little

critical listening.

The posttest (administered on April 21-28, 1969) revealed that

students had experienced a broader range of musical experiences. Newly

acquired preferences in music were the playing of a wide variety of musical

instruments, a tolerance and openness to new and strange sounds, composing

music on their own, and electronic music. When exposed to new musical

stimuli on the posttest, students generally responded with music referral,

i.e., they identified musical instruments, made positive aesthetic statements,

and identified elements of form. Practically all students said they had

composed music of their own, conducted, performed on a variety of sound

sources, and listed critically to a great deal of music both original,

recorded, and live (professional).

The second part of the pretest and posttest was an aural test10 which

was designed to assess the students' level of operation and to measure their

sensitivity to two musical stimuli, viz., ostinatos. (Taped responses of

all students to the aural tests are contained in the CAREL Arts and Humanities

Documentation Library.) It was thought that students would relate more

naturally to an ostinato with a programmatic verbal idea. Therefore, one

ostinato was given a programmatic idea which was read to all students and

the other had no programmatic connotation.

6Appendix - Vol. II, B 8

7Appendix - Vol, II, B 9

8Appendix - Vol, II, B 10



25

The results of the pretest showed that twelve of the sixty students

tested did not respond to the aural portion.11 Of these twelve, nine were

unresponsive to the programmatic ostinato. Furthermore, of twenty-one

control students who were administered the posttest, nineteen responded to

the ostinato without the programmatic idea. Therefore, we must seriously

question whether young children generally are indeed motivated sufficiently

by extra-musical ideas or whether the music itself supplies adequate intrinsic

stimulation.

Applied responses fell into several categories, viz., no response at

all, imitation of the ostinatos, random playing - unrelated, random playing

somewhat related, strict metrical groupings, and assymetrical rhythmic

groupings. While twelve students did not respond at all to the pretest,

only three of these twelve did not respond to the posttest. Further analysis

of the aural results by a number of musicians and music-educators is needed

to draw relevant conclusions and/or directions.

Presentations of the CAREL Music Curriculum

Presentations and demonstrations of the CAREL Music Curriculum were

given at Sarah Lawrence College, the University of Delaware, the Arizona

State Music Educators' Association, the University of California at Berkeley,

MENC Eastern Conference, Pennsylvania State University, New York State

University College at Fredonia, East Silver Spring Elementary School PTA

(Silver Spring, Maryland), the National Association of Elementary School

Principals, and the University of Maryland.12 In all instances mentioned

above, the CAREL Music Staff was invited to share the findings of its

developmental program to date. We eagerly accepted these invitations as

opportunities to test our goals, concepts and procedures against those

practiced by our colleagues in different parts of the nation. While healthy

and stimulating debates evolved in some of these situations, it was

generally agreed that the CAREL Music Curriculum has a sound rationale, a

good research design, and a meaningful objective the improvement of

educational opportunities in music for young children.

1:App endix - Vol. II, B 13

Appendix - Vol. II, B 14

26

RECOMMENDATIONS FOR FURTHER CURRICULUM DEVELOPMENT

Pilot Curriculum

As evidenced by the material contained in the body and appendices

of this report, a substantial amount of pertinent data has been gathered

during the developmental year. A rationale has been formulated which

underlies the entire operation and offers direction for educational

emphases. An effective and viable format for preparing teachers to work

with the objectives and processes of the curriculum has been developed.

Although the objectives have been stated at an intermediate level of

specificity, they are concrete enough to serve as indicators of goals for

instructional cycles, units, experiences, etc., and offer substantive

guidelines for lesson plan development and goal sequences. And finally,

some evaluative instrumentation has been devised which has begun to assess

the students' level of operation and sensitivity to musical stimuli.

Cognizant of the above, it is recommended that the next step be a

refinement of the accumulated data into a process-model pilot curriculum.

Processes for classroom activities should be outlined and prepared for

teachers' use. These processes should include strategies and procedureswhich were judged most effective in the developmental phase plus newly

devised strategies and procedures. Also evaluative instrumentation forspecific assessment of student growth should be designed.

A Multi-Arts Approach

Particular attention should be given to the feasibility of incorporatingmusic into a multi-arts core curriculum as a basis for providing classroomteachers a wider range of learning experiences for students. aur-Jimitedwork with a multi-arts approach has shown that classroom teachers can per-ceive and appreciate commonalities among the arts and can easily adaptthemselves to the discrete and separate characteristics peculiar to eachart form. We have seen many convincing examples of teachers and students,working effectively in one art form, extending their creative thoughts intoother art forms. This interaction and manipulation of the materials ofthe various art forms resulted in heightened sensitivity. Our conclusion

is that all art forms are equally essential for healthy emotional andintellectual growth and, therefore, should be central to the learning processfor young children. We recommend that future efforts be made to developthe present stage of the CAREL Arts and Humanities Program into a multi-artsapproach.

Teacher Selection

Classroom teachers and music specialists representing a cross sectionof urban and suburban schools plus a host of divergent teaching stylesshould be selected to work with the pilot curriculum in the demonstration

27

stage. This group of teachers should include initial teachers trained in

1968, plus new teachers. Ideally the new teachers should teach in the

same building at different grade levels for the following reasons: (1) to

share instruments, equipment and materials; (2) to share and reinforce

observations from each others' _lasses. Further, this school could be

utilized for general workshops and serve as the principal demonstration

center.

The role of both teachers and staff should be clarified. Teachers

should be expected to: (1) attend all workshops, (2) submit comprehensive

reports as requested, (3) share significant findings with other participant

teachers. The responsibilities of the staff are to: (1) organize presen-

tation of materials at workshops, (2) establish classroom observations and

teacher consultations, (3) continually refine and develop the music curriculum.

To further refine and develop the curriculum, attention should be

given to the following: (1) follow-up workshops, (2) individual teacher

consultations, (3) individual case studies, (4) classroom observations,

(5) aural and video taping. Follow-up workshops should focus on general

problems and interests. Also, they should introduce new strategies and

developments. Individual teacher consultations should relate to specific

teacher limitations and problems. Individual case studies could provide

an opportunity to probe a wide spectrum of learning styles and behaviors.

Classroom observations should indicate which learning experiences are most

effective at various grade levels. And finally, aural and video tapingshould capture the essence of the creative process for careful and systematic

analysis. All of these activities should be considered essential forgathering data pertinent to the final design and formulation of the music

curriculum.

Dissemination

Dissemination should be carried out on several levels. Articles

explaining the nature and scope of the program should appear in leadingeducational journals, as well as those concerned with particular art forms.The process for training classroom teachers should be implemented in

teacher training institutions for pre-service purposes. Finally, local

and state school systems should be encouraged to finance and providesufficient personnel to function as specialists for staff development.

28

CENTRAL ATLANTIC REGIONAL EDUCATIONAL LABORATORY

Appendix Vol. I

Contents

A. Classroom Teacher Preparation

1. Selection of Teachers p.1

2. Field Schools Participating p.3

3. Attitudinal Assessment Instrument p.5

4. Curriculum Plans - August Workshop p.6

5. August Workshop Schedule p.16

6. Definition of Stations p.17

7. Workshop Log p.18

8. August Workshop Bibliography p.19

9. Glossary of Terms p.20

10. Listening Guide #1 p,21

11. Listening Guide #2 p.22

12. Listening Guide #3 p.23

13. Discography #1 p.24

14. Discography #2 p.37

15. February Workshop Schedule p.42

Music


MUSIC

DATA REQUEST FORM

Teachers

1- Name

2, Home address and telephone

3. Are you the classroom teacher or a music specialist? Other?

4. What are your experiences in music?

music education?

General courses in music appreciation, etc.?

Instrumental, singing, or other professional training in music?

5. What formal or informal musical activities have you engaged in during the

past 6 months? (group or solo singing; instrumental work; concerts; composition,

etc,)

6. Roughly how many years have you taught music to children?

7. What is your chief professional competence?

School

8. Name

Address

Telephone

Name of Principal

9. Size of student body

Number of teachers

Number of classes

Special teachers music, counselor, librarian - special project connections

DATA REQUEST FORM - continued

Student Group

10. Approximate age and grade range of children

11. Type of classroom organization, team -teaching, self-contained, non-graded

12. What is the general intelligence curve of the class?

13. What are the grouping patterns in your school?

14. Are the most musical children those with the highest I.Q.'s and verbal capacity?

15. Describe the music program in your school in terms of scheduling,.instruction,

involvement of classroom teacher, etc.

ls. Types of occupations of parents


ARTS AND HUMANITIES CURRICULUM PROGRAM

MUSIC

Field Schools Participating

December 1968 - May 1969

Number

SchoolGrade of Pupils

District of Columbia

Bancroft Elementary (64 pupils)

Kathy Bryan3 34

Dolores Francis2 30

Harrison Elementary (24 pupils)

Allie Robinson

LaSalle Laboratory School (41 pupils)

Marcellina Jacksonit It

Morgan Elementary (92 pupils)

Sarah Dayelft tt

tt ft

Raymond Elementary (26 pupils)

Donna Ploss

4 24

K 20

K 21

(3-4) 2 19

6 24

6 24

(1-2) 25

2 26

Model Schools - Innovation Team:

Washington International (25 pupils)

Mrs. Rosemary Taft Nursery 25

Maryland

Baltimore:

Music SupervisorsAlice BeerConstance Pawlek

Armistead Elementary (32 pupils)

Dennis H. Bryan

City Springs Elementary (25 pupils)

Patricia Wilson

1Specialist: music teacher

2( ) = grouped class

6 32

25

MUSIC - Field Schools Participating

SchoolGrade

Numberof pupils

Maryland -- Continued

KK1

11

1

(5-6)'5

4

4

3

3

(2-3) SE'

1 SE1 SE

(2-6)

(4-5-6)

(4-5-6)

18

18

2424

24

24

24

24

24

242424

181811

12

1213

Baltimore Ci4y Music Dept. (323 pupils)

Gay Teran'ii 11

II ItIt

It I!

H /I

II ii

It II

H ii

It II

ii ti

ii ii

ii ti

H H

II II

Montgomery County:Washington Grove Elementary (37 pupils)

Louise Minton

Total Pupils in Music

D.C. = 272 pupils

Md. = 417 pupils

689 pupils

1Spedialist: music teacher

2( )

3

grouped class

SE = special education class


ATTITUDINAL ASSESSMENT INSTRUMENT

Name (or Number) Date

Complete each of the following sentences, and add another sentence:

1. The best thing about music is

2. My interest in music is

3. Good musicians

4. Composing music of my own

5. A music curriculum is

Three short musical excerpts will be played. In writing about each composition, continue

to complete the sentence and add another.

6. This piece

7. This piece

5


MUSIC CURRICULUM WORKSHOP

August 12-23, 1968

CURRICULUM PLANS

6

CAREL MUSIC WORKSHOP

August 12-23, 1968

ENROLLMENT: 9 classroom teachers, 2 music teachers, 1 EDC Innovation

Team Leader

TOTAL WORKSHOP TIME: 65 hours - two weeks plus an additional 90 hrs. of preparation.

DISTRIBUTION OF TIME:

50 hours - Exploration, Improvisation, Composition, Performance and

Analysis

5 hours - Individual listening at stations set up with phonograph,

recordings and listening guides

5 hours - Discussion - Impromptu and relevant to the need at the time

3 hours - Theatre Arts Improvisation

2 hours - Individual reading of recommended workshop literature

CAREL MUSIC WORKSHOP

August 12-23, 1968

CURRICULUM PLANS

Monday, August 12

I. Improvisation Vocal introductions based on a tape loop.

A. Tape loop serves as unifying element in the free improvisation.

B. Each person superimposes his/her name in any shape or form as

the tape loop goes on. A single name may be repeated as many

times as desired., The general idea is to engage each person in

a musical introduction

C. Tape the performance.

D. Playback and discuss.

1. List responses on board as to their analytical, judicial and

creative connotations,

2. Pass out copies of listening guide and mention daily use when

listening to recordings selected from the discography.

II. Retrospection Phase I (feasibility study) historical briefing

A. CAREL's alliance with 1114CP

B. ProceduresC. Outcomes

III. Projected Compositional Problem Major Instrument

A. Choose an instrument of your choice preferably one which you do

not play. It may be selected from the CAREL instruments or some

outside source, i.e., attic, friend's basement, etc. Consider the

instrument as a major focus of exploration during the two-week

workshop.B. Prepare a composition for the instrument to be performed on the

last day of the workshop.

IV. General Operating Procedures

A. Use station sheet provided to keep personal records of all activities.

Turn in the sheets at the end of each day. We will make a copy and

return it the next morning. It will serve as a Workshop Log. Feel

free to ask or write down questions, comments, observations, complaints;

and recommendations, You are the learner -- shape the situation to

meet your needs.

B. Return all instruments to tables, etc. at the end of each day.

8

C. Bulletin is for general use. Put up material of mutualinterest, concerts, pictures, etc.

D. Day begins at 9:30 and ends at 4:00 with 1 1/2 hours for lunch.

E. No scheduled coffee breaks -- arrange individually during station

modulation.

F. Locate stations by signs - doors unmarked are not related to the

workshop.

V. Compositional Stratege

A Select an instrument in the room and plan an improvisation either as a

solo or in a group.

B. Focus on the number of sounds possible with the instrument as well

as sensitivity to appropriateness when working within a group.

VI. Compositional Planning and Personal Exploration

VII. Group Session

A. Perform and tape all compositions.B. Playback and evaluate with listening guide at the board.

C. Request objects from home for Tuesday strategies.

Tuesday, August 12

I. Improvisation Tape loop and object sounds.

A. Focus on the distinctive qualities of each object as it relates to

the total musical framework.B. Divide into three groups.

C. As one group improvises, a member of another group controls the

dynamic level of the tape loop.D. Playback from tape deck and evaluation with comments recorded on

chalkboard in form of listening guide.

II. Projection Phase II (Developmental Study)

A. Objectives1. Pre-cycle curriculum2. enlarged program of teacher training

3. increased experimentationf, analysis of strategies5. refinement of materials of first year

6. focus on process7. assess behavioral outcomes

B. CAREL and MMCP alliance through Phase II

C. Phase III - Evaluation year

9

III. Composition

A. Plan a solo or group improvisation using the objects broughtfrom home.

B. Object sounds may be extended or altered electronically.

IV. Compositional Planning and Personal Exploration

Group Session

A. Perform and tape all improvisations.B. Playback and evaluate with listening guide at the board.

Wednesday, August 14

I. Improvisation

A. Free improvisation using conventional and unconventional instrumentsset up beforehand.

B. Impromptu conducting as volunteered by workshop participants.

II. Cotpositional Stratege

A. Plan two improvisations using conventional and unconventionalinstruments and tape recorder.B. Divide into two groups and select two conductors in each group.C. Conductors/composers plan and rehearse the group,D. Tape recorder considerations are loops and changing speeds.E. Musical objectives are: 1. contrast in dynamics

2. contrast in timbres

III. Compositional Planning and Personal Exploration

IV. Group Session

A. Perform and tape all planned improvisations.B. Playback and evaluate using listening guide at the board and

focusing on the musical objectives stated under compositionalstrategy.

Thursday, August 15

I. Listening - Playback of recorded performances of previous day.

II. Discussion - Record keeping or Workshop Log

10

III. Improvisation

A. New timbre considerations for strategy used on Wednesday.B. New volunteer conductors.

IV. Compositional Strategy

A. Plan two improvisations using conventional and unconventional

instruments and tape recorder.B. Divide into two groups and select two conductors in each group.C. Conductors/composers plan and rehearse the group.

D. Tape recorder considerations are loops and changing speeds.

E. Musical objectives are: 1) contrast in dynamics 2) contrast in timbres

V. Compositional Planning, Rehearsal and Personal Exploration

VI. Group Session

A. Perform and tape all planned improvisations.B. Playback and evaluate using listening guide at the board and focusing

on the musical objectives stated under compositional strategy.

VII. Theatre Arts Improvisations

A. Coached by Bob Alexander from CAREL and Arena Stage in D. C.B. Involved workshop participants and staff in theatre improvisations.

Friday, August 16

I. Listening - Playback of recorded performances of previous day.

II. Attitudinal Assessment Form

A. Sentence Completion'B. Listening with sentence completion

1. Chavez, Toccata, 3rd movement2. Corelli, Gigue3. Von Weber, Rondo for Bassoon and Orchestra

III. Improvisation

A. Free improvisation using vocal sounds and extended vocal

1. One individual begins a sound.

2. Next person imitates that sound and extends it untilanother vocal sound.

3. The process continues and develops with each person.


sounds

it becomes

A. Divide into groups.B. Plan and rehearse a composition using vocal sounds, vocal extensions

and sound on sound.

11

V. Compositional Planning, Rehearsal and Personal Exploration

VI. Group Session

A. Perform and tape all planned improvisations.

B. Playback and discussion with listening guide at the board.

C. "Laughing Piece #1," a free vocal improvisation involving the

entire workshop group.

Monday, August 19

I. Performance/Demonstration

A. Kathy Bryan, participant performed vocal piece using several tape

manipulations.B. Demonstrated her process which evolved from many hours spent beyond

workshop time Friday evening.

II. Personal Exploration, Reading Listening and Practicing

III. Improvisation

A. Vocal choir singing "Good Day" using random pitches.

B. Vocal ensembles singing "Good Day" using random pitches on a moving

curve cued by conductor.


--A.- Each group plan a vocal improvisation for chorus and soloist.

B. Conductors develop cues for:

1. Direction of pitches

2. Dynamics

3. Articulation of words

C. Title and text of composition is "Let it Happen."

V. Compositional Planning and Rehearsal

VI. Group Session


B. Playback for listening and any discussion.

C. Engage both choirs in "Let it Happen Together."

12

Tuesday, August 20

I. Improvisation - "Tuesday Morning Cantata"

A. Recitative - "Good Morning" (started freely by Cole and Lee as

participants arrived).

B. Vocal line with same text but accompanied by instruments that we

gradually gravitated to.

C. Conductors direct as motivated by musical direction of group.

D. Homophonic setting of "Good Morning" Fine.

E. Playback for listening.

F. Evaluation and focus on: 1. sections within the improvisation

2. contrast between the sections

3. how the total piece could be improved.

II. Compositional Strategy

A. Plan an improvisation using members of your group as vocalists and

instrumentalists.

B. Use the musical materials that evolved from the improvisation.

III. Compositional Planning, Rehearsal and Personal Exploration

IV. Group Session

A, Perform and tape all planned improvisations.


Wednesday, August 21

I. Listening Playback of recorded performances of previous day.

II. Compositional Strategy Functional Music

A. Workshop participants divide into three groups.

B. Each group selects one of the folluwing titles for their composition.

1. "Rosemary's Baby" (for R. Taft's expectant child)

2, "Here Comes the Judge" (for Dolores Francis' traffic ticket)

C. Choice of instruments left up to individuals.

D. Conductor selected by group.

III. Compositional Planning, Rehearsal and Personal Exploration

IV. Group Session



13.

Thursday, August 22

(visitor, Hatt Judson, colleague of John Holt)

I. Improvisation

A. View film which will serve as visual stimulus.

B. Review sequence to be used.

C. Free improvisation as sequence is seen once more.

D. Volunteer conductor makes musical decisions and cues the

instrumentalists.E. Playback and evaluation to determine feasibility of such a project

in the classroom.

II. Improvisation

A. Semi-planned with the following group responses:

1. Chordal punctuations, staccato2, Solo instruments using voice or instruments

3. trill or rollB, Title, "Introducing Matt Judson."C. Free choice of instrument.D. Individual's conduct as motivated.

E. Playback and evaluation based on analytical, judicial and creative

notions,

III. Improvisation

A, Completely free improvisation to help release Matt Judson from his

musical inhibitions.B. Free choice in performing roles, i.e., vocal, instrumental and

conducting.

C. Roles of performers could rotate.

IV, Discussion Matt Judson

A. Curriculum and the learner's environment

B. Peak experiences

V. Workshop Extension (Party at Lee's apartment)

A. ImprovisationsB. PerformingC. ListeningD. Eating and

14

Friday, August 23

Attitudinal Assessment/Sentence Completion Form

A. Sentence completionB. Listening with sentence completion

1 Villa-Lobos, Bachianan Brasiliaras #52. Dockstader, Electronic Piece #33. Handel, Concerto Grosso in C Major

II. Discussion

A. Brief definition of our role in the coming year as it relates to:1r support of any kind2. presentations and/or demonstrations3. monthly workshops

B. Development of Assessment tool to measure student's growth.

III. Rehearsal and Persoil:1 Exploration

IV. Composition

A. Each individual performs on the major instrument selected at thebeginning of the workshop.

B. Solo material is introduced.C Final composition for "Solo Instruments and Orchestra" is shaped

and conducted by visitor, Ronald Thomas.

15-

AUGUST WORKSHOP SCHEDULE

A BREAKDOWN OF TEACHER TINE DURING WORKSHOP PERIOD AT CAREL

CATEGORY AVERAGE TIME

Daily Per WeekTotal for

2-Week Period

1. Total workshop time for interactionwith participants, 6-1/2 32-1/2 65 hrs.

hrs. hrs.2. Planning involved in preparing

learning materials, such astapes, equipment, listeningguides, workshop logs,etc. 1 5 10

3. Review and evaluation of listeningguides, workshop logs and commentswritten or discussed by partici-pants. 3 15 30

4. Review and evaluation of strategies. 2 10 20

5. Development of strategies. 3 15 30

6. Total teacher-time spent during1workshop period. 15-1/2 1 77-1/2 155 hrs,

hrs.1

hrs.

16


DEFINITION OF STATIONS

GROUP S 601 B

COMPOSITION STATIONLocation of most instruments for individual or group planning and

rehearsing.

DISCUSSION STATIONA place to talk about the development of curriculum plans as applicable

to your own situation or any other pertinent discussion that evolves

from the workshop.

ELECTRONIC MUSIC STATIONTape recorders and phonographs set up for exploration of electronically

produced and electronically altered sounds. Available for compositions.

EXPLORATORY STATIONSample instruments selected from different percussion categories for

investigation.

LISTENING STATION Iphonograph and recordings set up for recommended listening.

LISTENING STATION IITape recorder and tapes set up for recommended listening.

PERFORMANCE STATIONArea designated for performances of compositions.

READING STATIONLocation of recommended workshop literature to be read at that station.

SKILL STATIONAn area to practice the instrument of your choice and manipulate some

basic tape techniques.

17


WORKSHOP LOG

NAME DATE

I. COMPOSITIONAL STATION

2. DISCUSSION STATION

3. ELECTRONIC MUSIC STATION

4. EXPLORATORY STATION

5. GROUP STATION

6. LISTENING STATION

7. PERFORMANCE STATION

8. READING STATION

9. SKILL STATION


1968 Music Curriculum Workshop

BIBLIOGRAPHY (for pre-Workshop study)

Bruner, Jerome S. The Process of Education. New York; Vintage Books, 1963

(Paperback. $1.35)

Bruner, Jerome S. Toward a Theory of Education. Cambridge, Mass.: Harvard

Univ. Press.($3.95)

Bruner, Jerome S. On Knowing. New York: Atheneum Press.

(Paperback. $1.45)

Contemporary Music Project. Report of the Seminar on Comprehensive Musicianship.

Washington, D.C.: Music Educators National Conference. 1965.

($1.50)

Ernst, Karl and Charles Gary. Music in General Education. Washington, D.C.: Music

Educators National Conference. 1964.

($2.50)

Paliska, Claude. Music in our Schools: A Search for Improvement. (Yale Seminar

Report) Washington, D.C.: Bureau of Publications, U.S. Government.

($0.30)

Schools for the Sixties. (NEA Project on Instruction). New York: McGraw-Hill

Book Co., 1963.($2.45)

The following articles are recommended for reading from the Music Educators

Journal for the month and year indicated:

April-May, 1965:

June-July, 1965:

Sept-Oct, 1965:

January, 1966

Feb-March, 1966:

Keller, C.R. "The Educational Revolution in Music"

Fowler, Charles. "The Misrepresentation of Music"

Parnes, S.J. "Nurture of Creative Talent"

Mueller, John, "The Arts and the Individual"

Leonhard, Charles. "Philosophy of Music Education"

Reimer, Bennott. "The Curriculum Reform Explosion and the

Problem of Secondary General Music"

Ellena, W.J., and Finis Englemann. "Man's Tomorrows"

"The Baschet Instruments-Structures for Sound"


GLOSSARY OF TERMS

UVATC 1-.4 ear 1.-bm Innt-c,r4a1 rc,onvdPri nn thP tang.la.1../aW --*- r--_or erase the material that has been recorded on the tape.

HALF-TRACK HEAD This variety divides the tape into two parts, so that youplay one side and then turn the tape over to play the other side.

QUARTER-TRACK HEAD - This variety divides the tape into four parts. Tworecording tracks become available to you on each side of the reel.

SPLICING - Cutting the recording tape and then rejoining it with an adhesivetape of special design

TAPE SPEED SELECTOR Selects tape speed of either 7 1/2 inches per second(when better sound quality is desired) or 3 3/4 inches per second(when longer recording time is desired).

TAPE COUNTER Indicates the amount of tape used in either record or playback.

VU METERS Indicates the volume level of signal being recorded.

RECORD BUTTON - Activates Record switch.

F.Fe - For fast forward tape motion.

PAUSE - To momentarily stop tape motion.

FWD To move the tape at normal tape speed for recording or playback.

REW To rewind the tape.


LISTENING GUIDE NUMBER 1

Name Date

Composition Composer

Analytical

LISTENING GUIDE

Judicial C'r'eative

21

A. Teacher Application

B. Student Application



MUSIC CURRICULUM

Name Date

Composition Composer

LISTENING GUIDE

ANALYTICAL JUDICIAL CREATIVE

1. Volume 1. Volume A. Teacher Application

2. Timbre 2. Timbre

3. Duration 3. Duration

4. Pitch 4. Pitch B. Student Application

5. Form 5. Form

6. General feelingabout thiscomposition

TEACHER'S NAME



PUPIL OR GROUP IDENTIFICATION

Creative...........,, _ ________

(Student/Teacher

TENSION AND RELEASE application)

1. Timbre2. Volume

3. Duration4. Pitch

UNITY AND CONTRAST1. Timbre

2. Volume3. Duration4. Pitch

TEMPORAL CADENCE1. Timbre2. Volume3. Duration4. Pitch

FORWARD MOTION1. Timbre2. Volume3. Duration4. Pitch

CONSISTENCY OF STYLE1. Timbre2. Volume3. Duration4. Pitch

CLARITY OF BASIC CONTENT1. Timbre2..Volume3. Duration4. Pitch

FORM1. Overall design2. Broad tendencies3. Phrases4. Motive

COMPLEXITY1. Timbre2. Volume3. Duration4. Pitch

COMPOSER'S INTENT1. Structure2. Expressiveness3. Personal idiom

PERFORMANCE .

1. Interpretation2. Skills

LISTENER1. Personal meanings2. Personal feelings

).

i


DISCOGRAPHY NUMBER 1

ANTHOLOGIES DISCOGRAPHY

Title

Man's Early Musical Instruments

History of Music -

Vol. 1, Ancient and Oriental Music

Vol. 2, Early Medieval Music up to 1300

Vol. 3, Ars Nova and the Renaissance

Vol. 4, The Age of Humanism

Vol. 5, Opera and Church Music

Vol. 6, The Growth of Instrumental Music

Vol. 7, The Symphonic Outlook, 1745-1790

Vol, 8, The Age of Beethoven, 1790-1830

Vol. 9, Romanticism (1830-1890)

Vol. 10, Modern Music (1890-1950)

Rec. No.

FE 4525

Victor LM 6057

Victor LM 6015

Victor LM 6016

Victor LM 6029

Victor LM 6030

Victor LM 6031

Victor LM 6137

Victor LM 6146

Victor LM 6153

Victor LM 6092

Title

Concerto No. 1 in D MajorConcerto No. 3 in B Minor

CONCERTI DISCOGRAPHY

Composer

PaganiniSaint-Saens

Rec. No.

MS 6268

Henry Cowell, Daniel PinkhamAlan Hovhaness CRI 109

Angels and Devils Henry BrantMusic for Piano Mutability Irving Fine CRI 106

Piano Concerto Schoenberg Col NS-7039

Concertino for Jazz Quartetand Piano Schuller At S-1359

Cello Concerto No. 2 Villa-Labos West 17037

Piano Concerto for Left Hand Ravel Ang S-35874

French Horn Concerto Hindemith Ang S-35491

Concerto for Orchestra Bartok Lon 6469

Rococo Variation for Cello Tchaikowsky D66-138674

Piano Concerto Grieg Vic LSC-2566

Violin Concerto Brahms Vic LDS-2513

Oboe Concerto Bellini DGG-139152

Flute Concertos in D and G Mozart Phi WS 9011

Harpsichord Concertos in D and G Bach Bach 5040

Christmas Concerto Manfredini Phi 900025

Concerto in F for two NaturalHorns and two Violins Telemann None 71066

25

ELECTRONIC MUSIC DISCOGRAPHY

Title

Columbia-Princeton ElectronicMusic Center

Composer Rec, No.

Arel, E1 -Dabh

Ussachevsky, Babbitt,Davidovsky, Luening MS 6566

Electronic Music Musique Concerte SR2-9123

Extended Voices Morton Feldman:Christian Wolff 32 160156

Song of the Youths - Contact Stockhausen 138 811 SLPM

Momente Stockhausen H -71157

Silver Apples of the Noon Morton Subotnick H-71174

A Sound Spectacular (Vol.2) Edgar Varese MS 6362

Mikrophonie I Stockhausen CBS 321-10044

Electronic Music Folkways FM 33436

The Science of Sound Folkways FX6007

Nonesuch Guide to ElectronicMusic Beaver and Krause None HC-73018

Electronics and Percussion Neuhaus CoeN57139

Computer Music Hiller HS 25053

The In Sound from Way Out Perrey- 1(ingsley VSD-79222

Music from Poland Penderecki Philips PHM-500-141

Electronic Music Cage, Berio TV 340465

ENSEMBLES DISCOGRAPHY

Title Composer Rec. No.

Classical Music of India Fl 8366

Warren Benson Presents Percussion CR 4016

Concert Percussion for Orchestra S/8000

Time Cycle Foss Col MS 6280

Ballet Mechaniaue Antheil Vrania UX 134

Petals Pastch CFI 213 USD

Music of Harry Pastch Pastch CRI 193

Chamber Music Ives Cam CRM 804

27

Title

FUNCTIONAL MUSIC DISCOGRAPHY

Composer Rec. No.

Background Music for Home Movies FX 6110

The Downtown Story Purdy FC 7070

The World's Greatest Marches LSC-2757

Ring Games Courtlander FC 7004

"Sounds of My City" FC 7341

Victory at Sea Richard Rodgers LSC-2335

Music for Children Carl Orff Angel 3582 B

1,2,3 and A Zing Schwartz FX-7003

Call and Response Jenkins FX-7308

28

Title

JAZZ DISCOGRAPHY

Composer Rec. No.

The Story of Jazz FP 712

The Shape of Jazz to Come SD 1317

The Outer View Russell Riverside RS-3016

Nefertiti Davis Col CS-9594

Journey Within Charles LloydQuartet SD 1493

The Shape of Jazz to Come Coleman At 1317

Time Out Brubeck Col 1397

29

MICROTONAL MUSIC DISCOGRAPHY

Title Composer

Violin Concerto Bartok

Fantasie for Violin Solo Haba

The Bewitched Pastch

The Sound Phenomenon ofQuarter-tone Music

30

Rec. No.

Folkways FM-3355

Gate S Records

Mesurgia A-8

MUSIC OF THE WORLD - hAST TO WEST DISCOGRAPHY

Title

Music of Asia: Japan, China, Okinawa

Tribal Music of Australia

Music of Viet Nam

Music of India: Traditional and Classical

Ragar of India

African and Afro-American Drums

Folk Music of the Mediterranean

Lappish Joih Songs from Northern Norway

Caribbean Folk Music

Indian Music of Mexico

Instruments and Music of Bolivia

Lumbering Songs from the Ontario Shanties

31

Record No.

Folkways 8745

Folkways 4439

Folkways 4352

Folkways 4422

Folkways 8368

Folkways 4502

Folkways 4501 AB

Folkways 4007

Folkways 4533

Folkways 8851

Folkways 4012

Folkways 4052

OPERA DISCOGRAPHY


Aida Verdi LSC-6158

Bluebeard's Castle Bartok London OSA-1158

Wozzeck Berg DGG-SPLM-13899 1/2

Peter Grimes Britten London OSA-1305

The Ballad of Baby Doe Moore MGM-S3-GC-1

Don Giovanni Mozart Vic LSC-6104

Elektra Strauss, R. DGG SPLM-138090/1

Oedipus Rex Stravinsky Col MS-6472

Nabucco Verdi Lon OSA-1382

Die Waliire Wagner Lon OSA-1509

The Crucible Ward CRI-168-SD

32

ORCHESTRAL MUSIC DISCOGRAPHY

Title

Six Brandenburg Concertos

Andre Kostelanetz PlaysThe Light Music of Shostakovich

Three Favorite Ballets: Firebird,Petrushka and The Rite of Spring.

The Creation of the WorldThe Soldier's Tale

The Nutcracker

1812 Overture-Marche Slave,Capriccio Italien

Time Cycle

Symphonie Fantastique

Music of Our Time

La Mer, IberiaPsyche and Eros

El Salon Mexico, AppalachianSpring

Lincoln Portrait, Fanfare forthe Common Man: Three Placesin New England

Three Places in New England #3

The Unanswered Question andVariations on "America"

Light Classics

The New Sound of the Boston Pops

Royal Fireworks Music

Symphony No. 94 in G, MajorOverture in D Major - Symphonyin C Minor

33

Composer

Johann S. Bach

Stravinsky

MilhaudStravinsky

Tchaikovsky

Tchaikovsky

Lukas Foss

Berlioz

DebussyFranck

Copland

Copland

Ives

Charles Ives

Charles Ives

Geo. F. Handel

HaydnBoccherina

Rec. No.

BWV 1046-1051

MS 6867

D35 705

SDBR-3017

LSC-2052

MS 6827

MS 6280

LSC-2608

MS 6733

VIC-1246

MS 6355

MS 6684

SR90149

LM-2893

LSC-2547

LSC-2638

MHS 511

Angel 35712

ORCHESTRAL MUSIC DISCOGRAPHY - continued -2-


The New Music Vol. 1 Stockhausen, VICS-1239Pederecki,Pousseur

The New Music - Vol. 2 Boulez VICS-1312Haubenstock-Ramati,Maderna

The New Music - Vol. 3 Nono, Fukushima,Lehmann VICS-1313

Pictures at an ExhibitionDaphnis and Chloe

Scheherazade

MoussorgskyRavel

VIC-1273

Rimsky-Korsakov Angel S35505

Bolero Ravel ML 5293La Valse

34

SOUND EFFECTS DISCOGRAPHY

Title Rec. No.

Sound Effects - Vol. 1




Electronic Sound Effects

Sounds of the Satellites

35

DFS 7006

DFS 7010

DFS 7011

DFS 7015

Folkways 6250

Folkways 6200

Title

VOCAL MUSIC DISCOGRAPHY

Composer Rec. No.

Gregorian Chants FR 895L

The Great Cantatas of Johann Bach NHS 516

The World's Vocal Arts FE 4510

Songs at Eventide, Marian Anderson LSC-2769

Chichester Psalms and Facsimile MS 6792

Peter and the Wolf Prokofiev SG7211The Carnival of the Animals Saint-Saens


Source

DISCOGRAPHY NUMBER 2

Book: MAKING MUSIC YOUR OWN K

TITLE COMPOSER SECTION

1. Minuet in G J. S. Bach2. The Comedians D. Kabalevsky Pantomime3. Minuet in F. W. A. Mozart4. Pictures at an Exhibition M. Mussorgsky Ballet of the Unhatched Chicks5. Memories of Childhood O. Pinto Sleeping Time6. Love for Three Oranges S. Prokofiev March7. Mother Goose Suite M. Ravel Empress of the Pagodas8. Mother Goose Suite M. Ravel Hop o' My Thumb9. Album for the Young R. Schumann Wild Horseman

10. A Soldier's Tale I. Stravinsky Devil's Dance11. The Nutcracker Suite P. I. Tchaikovsky Dance of the Sugar-Plum Fairy

Source Book: MAKING MUSIC YOUR OWN I


1. 16 Pieces for Children B. Bartok No. 7, 272. Poems of the Sea E. Bloch Waves3. Scuola di Ballo L. Boccherini Presto, Pastorale4. Divertimento No. 8 in W. A. Mozart Movement 4, 62

F. Major5. Variations on "Ah, vous

dirai-je, Maman"W. A. Mozart

6. Sonata a 2 in D Minor J. Rosenmuller Movement 3, 157. Marche Militaire F. Schubert8. Album for the Young R. Schumann Wild Horseman9. Excerpt from Pulcinella I. Stravinsky

10. Three Dances T. Susato Ronde

Source Book: MAKING MUSIC YOUR OWN II


1. Serenade Op. 8 L. Beethoven March2. Billy the Kid (excerpt) A. Copland3. Preludes for Piano, No.2 G. Gershwin4. Trois Pieces Breves J. Ibert Andante5. Tower Sonata J. Pezel No. 226. Memories of Childhood O. Pinto March, Little Soldier7. Waltzes F. Schubert Nos. 1 and 2, Op. 9a8. The Golden Age D. Shostakovich Polka9. Adelita F. Tarrega Mazurka

37


Source Book: MAKING MUSIC YOUR OWN III


1. Scherzo E. Bozza2. Suite for String Orchestra A. Corelli Gigue3. The Banshee H. Cowell4. Henry VIII Incidental E. German Morris Dance

Music5. Sonata in F, Op. 1, No.11 GF. Handel Allegro-finale6. Kleine Kammermusik P. Hindemith Schnelle Viertel7. Lieutenant Kije S. Prokofiev Birth of Kije8. Trumpet Tune H. Purcell9. Scenes from Childhood R. Schumann About Strange Lands

and People,The Knight of theHobby-Horse,Two Villancicos

Source Book: MAKING'MUSIC YOUR OWN IV


1. Two Villancicos J. Encina2. Peer Gynt Suite No. 1 E. Grieg In the Hall of the

Mountain King3. Fireworks Music G. F. Handel Bourree and Minuet4. Escales (Ports of Call) J. Ibert Tunis-Nefta5. Quartet No. 1, Op 12 F. Mendelssohn Canzonetta6. La Cheminee du Roi Rene,

Movement 6D. Milhaud Chasse a Valabre

7. Folk Suite L. Mitchell Dance8. Quartet No. 6 G. Rossini Allegretto9. Serenade P. I. Tchaikovsky Wa1tZ

10. Concerto in G Minor A. Vivaldi Movement 3

Source Book: MAKING MUSIC YOUR OWN V


1. Suite No. 2 in B Minor J. S. Bach Minuet and Badinerie2. Praise the Lord Bechler3. Quartet in C Minor, Op. 18 L. Beethoven Allegro4. Hungarian Dance No. 5 Brahms

Hungarian Dance No. 65. Waltz in E Minor Chopin6. Preludes, Book I Debussy Voiles

Preludes, Book II La Puerta del Vino7. Symphony No. 104 Haydn Allegro Spiritoso8. A Midsummer Night's Dream Mendelssohn Scherzo9. Symphony No. 41 Mozart Finale

10. Acadian Songs and Dances Thomson Papa's Tune11. Lohengrin Wagner Prelude to Act III

Source Book: EXPLORING MUSIC II


1. Carnival of the Animals C. Saint-Saens

2. Children's Symphony H. McDonald First Movement

3. Divertimento No. 8 in W. A. Mozart Contradance

F. Major

4. Dance J. Cage

5. The Nutcracker Suite P. I. Tchaikovsky

6. Percussion Melee R. Ganz

7. Age of Gold Ballet Suite D. Shostakovitch Polka

8. Prince of Denmark March J. Clarke9. Semper Fidelis J. P. Sousa

10. Suite No. 2 for Small I. Stravinsky March, Waltz, Polka, Galop

Orchestra11. Carnival of the Animals C. Saint -Saens The Swan

12. Symphony No. 94(Surprise) J. Haydn Second Movement

13. Two Spanish Songs for AnonymousRecorders

Source Book: EXPLORING MUSIC III


1. Banshee H. Cowell2. Canzona No. 2 for Brass

and OrganG. Gabrieli

3. Children's Symphony H. McDonald Second Movement

4. Corn Grinding Song Navaho Indian Song

5. The Bartered Bride B. Smetana Dance of the Comedians

6. Four Seasons A. Vivaldi The First Movement "Spring"

7. German Dance (Sleighride) W. A. Mozart

8. Hansel and Gretel E. Humperdinck

9. Andante and Rondo C. M. Von Weber Rondo for Bassoon andOrchestra

10. Silversmith Song Navaho Indian Song

11. A Soldier's Tale I. Stravinsky March, Pastorale, Devil'sDance

12. Suite No. 3 in D. Major, Air J. S. Bach

13. Symphony No. 94 (Surprise) J. Haydn Third Movement

14. Toccata for Percussion C. Chavez Third Movement

15. Waltz in C Sharp Minor F. Chopin

16. Waltz in D Flat Major F. Chopin

(Minute Waltz)

17. Washington Post March J. P. Sousa

Source Book: EXPLORING MUSIC IV


1. L'Arlesienne Suite No. 1 G. Bizet Carillon

2. Organ Concerto No. 13 in G. F. Handel Cuckoo and the Nightingale

F Major

39

TITLE

3. Danse

4. Octet

5. Hary Janos Suite

COMPOSER

Anonymous, 13thcenturyP. Hindemith

Z. Kodaly

6. Imitations for Two Instruments M. Babbitt

7. Ionisation E. Varese

8. Liebeslieder Waltzes, J. Brahms

Opus 52

9. Music for Instruments

10. Petrouchka Ballet Suite

11. Piano Sonata in A Minor

12. Pictures at an Exhibition

13. The Pines of Rome

14. Rondo No. 2 in G Major

15. Six Pieces for OrchestraOpus 6

16. Sonata in A Minor, K.175

17. String Quartet No. 10 in

C Major, K.17018. Suite No. 3 in D Major,

Gavotte

19. Syrinz20. Trio in A Minor, Opus 114

21. Variation on "Sakura"

22. Violin Concerto in D Major,

Opus 61

Source Book: EXPLORING MUSIC V

TITLE

1. Acadian Songs and Dances

2. Bamboula3. Canon for String Quartet

4. New England Triptych

5. Classical Symphony, Opus 25

6. Concerto for Orchestra

7. Concerto No. 25 (Water MusicSuite)

8. Epitaphium for Flute,Clarinet, and Harp

9. Mississippi Suite

10. Fugue in D Major

H. IsaacI. Stravinsky

W. A. MozartM. MussorgskyO. RespighiC.P.E. BachA. Webern

D. ScarlattiW. A. Mozart

J. S. Bach

C. DebussyJ. BrahmsK. Eto

Beethoven

COMPOSER

V. Thomson

L. GottschalkA. SchoenbergW. SchumanS. ProkofievB. BartokG. G. Handel

I. Stravinsky

F. Grofe

W. Selby

40

SECTION

Fugue and Three Old-Fashioned DancesPrelude, VienneseMusical Clock,The Battle and Defeatof Napoleon

Wie des Abends schoneRote,Die Brune Hopfenranke

Scene One, "The ShrovetideFair"First Movement

The Pines of the Janiculum

Third Piece

First Movement

Third Movement

Third Movement

SECTION

Papa's Tune, The Alligatorand the 'Coon, Super-Sadness

Chester

Second MovementAllegro, Bourree, Hornpipe,Allegro Deciso

Father of Waters andHuckleberry Finn


11. Rodeo A. Copland Hoe-Down

12. London March Anonymous

13. Messian (excerpts) G. F. Handel

14. Don Giovanni W. A. Mozart Minuet

15. Musette en Rondeau J. Rameau

16. Oklahoma: R. Rodgers andO. Hammerstein II

17. Two Sketches for WoodwindQuintet D. Milhaud Pastoral

18. Prelude No. 2 G. Gershwin

19. The President's March P. Phile

20. Three Places in NewEngland

C. Ives Putnam's Camp, Redding,Connecticut

21. Quintet No. 2 in C. Major L. Boccherini Fourth Movement,"Madrid Retreat"

22. Stars and Stripes Forever J. P. Sousa

23. String Quartet in D Minor,Opus 76, No. 2

J. Haydn First Movement

24. Symphony No. 3 for Band V. Giannini Fourth Movement

25. Tambourin J. Rameau

26. Till Eulenspiegel's Merry R. Strauss

Pranks

41


MUSIC CURRICULUM

Interim-Developmental Workshop

February 10 - 14, 1969

SCHEDULE

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

9:30 12:30 MUSIC Multi-ArtsApproach

(Dennis Bryan)

(FunctionalClothing)

12:30 - 1:20 LUNCH LUNCH

1:30 MUSIC MUSIC

Committee Committee

Work On Work OnDPME DPME

ART(Mary L.

Grayson andLynn Jones)(Functional

Clothing)

LUNCH

MUSIC

CommitteeWork OnDPME

42

DANCE LITERATURE

(Geraldine (Lucille Clifton

Dimondstein) and Sam Cornish)

(FunctionalClothing)

LUNCH

MUSIC

CommitteeWork OnDPME

LUNCH

MUSIC

Committee Reports

Appendix Vol.:.


Contents

Music

A. Curriculum Development and Contents

1. Musical Instrument Inventory. p.1

2. Electronic Equipment Inventory3. Developmental Phases of Musical Exploration p.6

4. Sample Strategies p.7

Vo.''B. -ion Procedures and Findings

=litter to MMCP Consultants p.9

,-testionnaire for Participant Teachers to Help CAREL Improve Future p.10

:nsic Workshops Programs

3. .szvroom Observation Schema p.13

4. .,.:,.acher Questionnaire #1p.14

5. Individual Teacher Conferences p.15

6. Teacher Questionnaire #2 p.16

7. Experience Reports from Teacher-Consultants ...p.18

8. Pupil Data Formp.19

9. Procedures for Testing In the Schools p.21

10. Random Sampling of Pupils p.22

11. Pupil Questionnairep.23

12. Aural Testing Procedurep.24

13. Pre and Post-Testsp.26

14. CAREL Music Curriculum Presentationsp.29


MUSIC COMPONENT

MUSICAL INSTRUMENT INVENTORY - August, 1968

Make and Model No..No. Quantity Instrument

1. 1 Violin, Full size Mathias Thoma #22

2. 1 Viola, full size Mathias Thoma #32

3. 1 Cello, Full size Mathias Thoma #80

4. 1 Guitar, Classical, concert size Mathias Thoma

5. 1 Bass Drum with stand and beater Ludwig #805L

6. 1 Snare Drum Outfit, including stand Ludwig #2445-1

7. 1 Guiro with scraper Ludwig #2367

8. 1 pr. Claves Ludwig #2368

9. 1 Timpanum, 25" with mallets Slingerland #350

10. 1 Tambourine, 10" Ludwig #95

11. 1 Castanets Ludwig #89

12. 1 Slapstick Ludwig #74

13. 1 Acme Siren Ludwig #539

14. 1 Sleigh Bells Ludwig #97

15. 1 pr. Finger Cymbals Ludwig #85

16. 1 Ratchet Ludwig #75

17. 1 Cow Bell, 5" Ludwig #129

18. 3 Triangles, 6" Ludwig #13338" Ludwig #1334

10" Ludwig #1332

19. 1 Anvil with stand, mallet Ludwig #4115

20. 2 Woodblock, largesmall

Ludwig #774Ludwig #775

1

Musical Instrument Inventory - August, 1968

No. Quantity Instrument Make and Model No.

21. 3 Timpani Sticks, softmediumhard

Ludwig #347Ludwig #346Ludwig #343

22. 2 Bass Drum Beater, wooddouble head

Ludwig #334Ludwig #319

23. 1 Whistle, drum major type Acme #118W

24. 1 Orchestra Bells, 2-1/2 octaves Musser #645

25. 1 Tam Tam, 30" with stand and mallet Ludwig #757

26. 6 Music Stands, metal Manhasset #5470

27. 1 Metronome with flashing light Franz #9588

28. 1 Autoharp, 15 bar #45E

29. 6 Recorder, tunable Cambridge R50

30.. 4 Song Whistle, metal Slingerland #769

31. 1 Xylophone, portable 3-1/2 octaves Slingerland #X920

32. 1 Floor Cymbal Stand Slingerland #33F

33. 1 Suspended cymbal, 22" Ludwig #722

34. 1 Temple Blocks, with stand and mallets Ludwig #80

35. 1 Orchestra Bell Stand Ludwig #1368

36. 2 pr. Wire brushes Ludwig #193

37. 1 10" dia locking ring Peripole V1618

38. 1 10" dia tunable hand drum Peripole V1619




42. 1 10" dia tambourine, tunable Peripole V1639

43. 1 12" dia tambourine, tunable Peripole V1640

Musical Instrument Inventory - August, 1968

No. Quantity Instrument Make and Model. No.

44. 1 4" dia cymbal, silver bronze Peripole V3900





49. 1 6" triangle Peripole V2352

50. 1 9-1/2" triangle Peripole V2355

51. 1 10" dia timpani Peripole V1550



54. 1 10" dia timpani, central tuning Peripole V1560



57. 1 Alto Xylophone(no legs or mallets) Peripole V37-1

58. 1 Soprano Xylophone (no legs) Peripole V3710

59. 2 Soprano Bells (blocks) Peripole RB720S

60. 1 Alto Bells (blocks) Peripole RB720A

61. 1 Tenor Bells (blocks) Peripole RB725T

62. 3 17 note treble Kalimba Carroll

63. 3 15 note alto Kalimba Sound Inc.

64. 2 Tub drum, w. beater Peripole DR315C

65. 2 Barrel drum, 10" x 15" w.beater Peripole DR315d

66. 2 Miniconga Drum Peripole DR315b

3

Musical Instrument Inventory August, 1968

No.

67.

68.

69.

70.

71.

72.

73.

74.

75.

76.

77.

78.

79.

80.

Quantity

3

3

6

20

3

2

1

2

2

2

2

1

1

1

Instrument

Twin Bong

Twin Bongo

Slide Whistles

Recorders

Guitar, classical, concert size

with nylon strings and cover

Autoharp, 15 bar

Temple blocks with stand and

mallets

Tenor bells (25 blocks)

Soprano Bells (20 blocks)

Alto Bells (20 blocks)

Bass Bells (12 block)

Alto Xylophone, 22 bars

w. legs

Soprano Xylophone, 20 bars

w. legs

Cello, 1/2 size, ebony finger-

board, pegs and trim, adjuster

on A and E strings w. canvas

cover

Snare drum, outfit, w.stand,

carrying case

Conga drums

Conga drums

Conga drums

Conga drums

Tenor Steel Drum

Baritone Steel Drum

4

Make and Model No.

Peripold LA90B

Peripole LA90C

Ludwig

Gill W960b

Gianini

45B

Ludwig #80

Peripole #RB725T

Peripole RB720S

Peripole RB720A

Peripole RB712B

Peripole V3711

Peripole V3710

Juzek #302

Ludwig 2445-1

Peripole LA95 A-T

Peripole LA95 B-T

Peripole LA96 C-T

Peripole LA96 0-T

(Standard Model)

(Standard Model)

.


ELECTRONIC EQUIPMENT INVENTORY

No. Item Model No. Unit Cost Extension

4 Sound on Sound Tape Recorders #630 $380.00 $1,520.00

5 Stereo tape recorders #540 300.00 1,500.00

10 Sony tape recorders #910 69.50 695.00

4 Sine/Square wave generators #99T5014 35.95 143.80

2 Mixers (Shure) #MX6A 44.90 89.80

2 Oscilloscopes - Eico 1/38T2644WX 149.95 299.90

2 Standard stereo splicers 5.99 11.98

4 Junction Box - Koss #T5 7.00 28.00

16 Head phones David Clark #300 .15.00 240.00

3 Contact microphones #99H4576 2.49 7.47

2 Autoharp Amplifying Pickups #STR 920d 24.95 48.00

1 Sony tape deck Model 200 179.50 179.50

1 KLH (2 speakers, turntableand amplifier) II 24 325.00 325.00


Music Curriculum

Developmental Phases of Musilcal ExplorationStrategies

Free Explorationis the period of discovering a wide variety ofsounds.A. Encouragement to explore instruments.B. Invitation to share discoveries with class.

Guided Explorationis an extension of free exploration, thatencourages thestudent to investigate hissound producing materials with greater depth.A. Focus attention on other exploratory

possibilities with words, questions or ideas.B. Focus on "listening" to new discoveries with

individuals, groups or entire class.

Free Improvisationis the opportunity for the child to relate orassociate his musical ideas in a variety of waysto enhance his search for creative expression.A. Encourage students to experiment with musical

ideas discovered during free and guidedexplorations.

B. Discuss qualitative aspects of freeimprovisation.

Planned Improvisationis the organization of musical ideas which allowsthe child to make the most expressive use of thedata he has accumulated.A. Planned improvisations individual.B. Planned improvisations in small or large

groups,

Reinforcementis the acknowledgement of the child's accomplish-ments with the encouragement of more intensiveinvestigation,A, Focus attention on other exploratory and

improvisational possibilities.B, Focus on "listening" to new discoveries.

Evaluationencourages the child to identify which musicalexperiences are satisfying to him and which arenot. This process is inherent in all phasesmentioned above.

Teacher Comments (Please indicate the effectiveness and appropriatenessstrategies)

of the above


SAMPLE STRATEGIES

Guided Exploration

A, How can you make your instrument sound like:1. a snake crawling?2 a snake attacking another animal?3. a snake resting?

B. What happens to the sound when the:1. snake crawls?2 snake attacks another animal?3> snake is resting?

FreeImprovisation

In the space provided on the forms indicate outcomes of free improvisation.

Planned Improvisation

A. Using your instrument tell me a story about a snake.B. Would anyone else like to help tell this story?

Reinforcement

A. How can you make your instruments sound like a number of snakes crawling,attacking, resting, etc.

B. What happens to the sound when there are several snakes crawling, attacking,resting, etc.?

Evaluation

Evaluation in terms of musical experinces should occur only as a natural outgrowth.

Teacher Comments

(Please try, if not all, at least three of the sample stragegies listed.)We would like to know in this area the effectiveness and appropriateness of thestrategies suggested. Please submit your own strategy ideas and comments about thesuggested strategies by Friday, November 8.

SAMPLE STRATEGIES

How can you make your instrument sound like:

A. A fish swimming.

B. A fish eating.C. A fish caught on a hook.

A, The taste of salt.B. The taste of pepper.

C. The taste of sugar.

A, The smell of bananas.

B. The smell of coffee.

C. The smell of gasoline.

A. You feel happy.B. You feel sad.

C. You feel angry.

A. A car in traffic.

Be A car speeding.C. A car slowing down.

A. A train leaving the station.B. A train speeding.C. A train slowing down.

A. You are talking to yourself.B. A talk between two people.

C. A talk between three people.

A. An argument.B. A fight.

C. Shaking hands.

A. A sunny day.

B. A rainy day.

C. A thunder storm.

A. A hot day.

B. A cold day.C. A warm day.

A. One part of a machine.

B. Two parts of a machine.C. Three parts of a machine.

8


1200 Seventeenth Street, N.W.Washington, D.C. 20036

TO: All MMCP Consultants

September 13, 1968

We are making considerable progress on the Pre-cycle Curriculum.Enclosed are materials which evolved from our two-week workshop fortwelve teachers held at CAREL from August 12-23. Ron, Lee and Iwould appreciate your reactions to these materials after you have hadan opportunity to examine them.

We call your attention particularly to the enclosure entitled,A Curriculum Plan-Outline. You can assist us measurably in our effortsby evaivatiing the section of this document entitled, Goals and Objectives.We would appreciate reactions to this section from you and your teachers.Please make deletions, alterations, additions, or modify this sectionin any way and return to us with your comments via enclosed envelope.

Also, please comment on the enclosed lists of strategies which wedesigned for our workshop.

Thank you for assisting us in these concerns. You will hear fromus from time to time as our work progresses.

Copies to:

Natalie Wiegel, Beaverton, Ore.George Kyme, Oakland, Calif.Lionel Nowak, Bennington, Vt.Ronald B. Thomas, Nanuet, N.Y.Walter Barnum, Seattle, Wash.Alex Campbell, Denver, Colo.Harold Carle, New York, N.Y.Josephine Caruso, Yonkers, N.Y.Marie Culjak, Chicago, Ill.Ronald Davis, Ft. Lauderdale, Fla.Dolores Francis, Washington, D.C.Robert Gibbs, Potsdam, N.Y.Stanley Haynes, Seattle, Wash.Arthur Hornberger, Stony Point, N.Y.Barbara Hurley, Garden City, N.Y.John McManus, Eugene, OregonEddie Lou Neel, San Angelo, Tex.

9

Sincerely,

Cole Biasini and Lee PogonowskiAssociates in Music

Richard Neubert, White Plains, N.Y.Harald Normann, Staten Island, N.Y.Ruth Parson, Abilene, Tex.Barbara Reeder, Seattle, Wash.Julie Reichling, New Rochelle, N.Y.Robert Revicki, W. Hartford, Conn.Carroll Rinehart, Tucson, Ariz.Emily Romney, Cambridge, Mass.Sister Virginia Saalfeld, Marylhurst, Ore.Sister Ruth Sheehan, Houston, Tex.Robert Thayer, Mt. Vernon, Ia.Sister Mary Joseph

Umiejewski, Hartsdale, N.Y.

QUESTIONNAIRE FOR PARTICIPANT TEACHERS TO HELP CARELIMPROVE FUTURE MUSIC WORKSHOP PROGRAMS

We will greatly appreciate your best thinking to help us improve our future

workshops for music education. Although we hope that you have benefitted throughlasting gains in music, as well as enjoyment, the really essential purpose of theworkshop you attended should be considered in terms of what your pupils can gain.

1. Please rank (e.g., 1st through 5th if there are five) the most importantgains that you believe your pupils will achieve as a result of your having attended

the CAREL Music Workshop.

2. Please list any additional things which could be done that you think mightresult in better educational opportunities in music for your pupils.

3... Please list any things or situations that you think may be obstacles to

your pupils' educational opportunities in music,

- PLEASE USE ATTACHED CONTINUATION SHEET IF ADDITIONAL SPACE IS NEEDED

10

4. Please rank (e.g., 1st through 5th if there are five) any losses thatyou believe your pupils may experience as a result of your attending the CAREL MusicWorkshop.

5. Do you think there is any better way to have prepared you to teach music toyour pupils than the kind of workshop you atteded at CAREL?

Yes No Don't Know

If "Yes", please describe the better way.If "No' or "Don't Know", please say why.

6. What might CAREL do to improve its future preparation of teachers such as youto teach music to pupils similar to yours?

PLEASE USE ATTACHED CONTINUATION SHEET IF ADDITIONAL SPACE IS NEEDED -

11

- CONTINUATION SHEET

Please Identify by Number Any Items Continued on This Sheet

Central Atlantic Regional Ecuational Laboratories

Music Component

Classroom Observation Schema

The reasons for a classroom observation schema are:

1. to better understand the teacher's frame of reference

when she discusses her classroom experiences.

2. to identify those success factors which are common in all

classrooms.

3. to identify uaique factors which contribute to the success

oz a program in a particular classroom enclusive of teacher

idiosyncrasies.

4. to determine the degree to which each pupil senses his own

personal power as an imaginative and creative person.

5. to identify the operational level of each teacher.

Subsequent to preliminary classroom observations, we will endeavor to

refine the goals identified above into the following categories:

1. Attitudinal Assessment

2. Classroom environment

3. Processes

4. Concepts

5. Skills

6. Strategies


TEACHER QUESTIONNAIRE NUMBER 1

Teacher Date


1. What strategies did you use from the sample list?

2. Why did you select the particular strategies?

3. How did the musical results differ from the results of prior musical activities?

4. Do you feel the Developmental Phases of Improvisation is a useful reference in

guiding your pupils in the discovery process? Why?

5. What new strategy ideas did you develop as a result of the form?

6. Other Comments:


Music Component

Individual Teacher Conferences

1. To what extent have you involved your pupils in the CAREL Music Program?

2. What does the CAREL Music Program mean to you?

3. What are the difficulties you've encountered in implementing the CAREL

Music. Program?

4. What are the more successful characteristics of the program in terms of

1) pupil involvement?

2) strengthening other areas of study?

3) variety of musical experiences?

5. How do you feel we can assist you further in developing a meaningful musicprogram in your classroom?

F-

r

NAME


TEACHER QUESTIONNAIRE NUMBER 2

DATE

GRADE SCHOOL

Please complete the following sentences and feel free to add additional comments.

1. The best use I have made of the taped vocal material is

2. The best use I have made of the taped listening examples is

Please check the appropriate box in reference to the Sidny Lippman musical fairy tales.

1. I have used the following with my children:

A. A Lamb is What I AmB. As Big As an OxC. Slowly and SteadilyD. none of the above

2. The musical the children enjoyed most is:

A. A Lamb is What I amB. As Big As an OxC. Slowly and SteadilyD. none of the above

16

2. The musical the children enjoyed most is: - continued

The reason is

3. The musical the children enjoyed least is:


The reason is

4. I recommend the following for use at my pupil's grade level.


The reason is

Please feel free to add any additional comments regarding the two or three tapedmusicals by Sidney Lippman.


1968- Experience Reports From Teacher-Consultants

We would like to incorporate a comprehensive repprt of each classroomsituation in our May report to the U.S.O.E. Below are listed categories

which may or may not be appropriate to your situation. Please do not

feel compelled to respond to questions which are irrelevant to yourclassroom experience. If other categories occur to you, please includethem in your report.

In addition to the written reports we need tapes representing childrenoperating at various levels of the Developmental Phases of MusicalExploration, i.e., free exploration, guided exploration, free impro-visation, planned improvisation, reinforcement and evaluation.

So that we may include your papers and tapes in our final report, itis imperative that we receive them by Monday., April 28. Attached is

a consultant invoice to be signed and returned to us with your report.

***************************************************************************

1. What have you learned about your pupils this year that you did not

realize about former pupils?

2. What have you learned about yourself since the beginning of thisprogram?

3. What are the grouping patterns in your classroom as they relate to

social and musical behavior?

4. What changes would you make on your next start with this programat the same grade level?

5. Has this program affected your mode of operation in other subjectareas at your grade level? If yes, explain how.

6. What do you believe to be the most important outcomes of yourcreative music program this year?

7. Identify and discuss the most meaningful musical experiences usedthis past year.

8. Comment on the instruments you feel are most appropriate at yourgrade level.

Attachment


Music Component

Pupil Data Form

Please supply the information requested below and return to CAREL at your earliest

convenience.

Name of teacher

Grade you teach

No. of children in your class

Name of each child

1.

2.

3.

4.

5.

6.

7.

8.

9.

15.

16.

17.

18.

19.

20.

Sex Age in years and months (date of birth)

21.

22.

23.

24.

25.

, 26.

27.

28.

29.

30.

31.

32.

33.

34.

35.

36.

37.

38.

39.

40.

Central Atlantic Regional Educational Laboratories

Music Component

General Procedures for Testing in the Schools

1. Report to principal

2. Contact teacher

3. Set-up equipment

4. Randomly select 6 pupils

5. Administer Questionnaire

a) Lee interacts with pupils

b) Cole records pupil responses

c) Cole plays taped sample

6. Administer Aural Test

a) Lee poses problem

b) Cole operates tape deck

c) Lee operates tape loop

d) Cole times each performance

7. Equipment

1) tape deck + 2 mics and stands2) tape recorder3) 2 tape loops4) 2 take-up reels5) splicer and blade6) splicing tape7) earphones8) recorded tape9) xylophone + stand, mallets

10) music stand base11) clean tape

Central Atlantic Regional Educational Laboratory

Music Component

Random Sampling of Pupils

D. Francis K. Bryan S. Daye A. Robinson M. Jackson T. Minton

1 2 3 4 5 6

1 2 3 4 9 7

17 5 7 12 6 11

22 10 8 13 15 13

27 16 11 21 17 5

31 19 14 26 23 3

34 35 19 27 14 2

R. Taft D. Ploss G. Terran P. Wilson D. Bryan

7 8 9 10 11

20 2 5 1 2

16 4 11 3 8

12 6 17 7 14

7 7 24 11 21

5 10 29 13 18

1 30 32 17 16

SCHOOL


STUDENT'S NAME

1. What do you like best about music?

TEACHER DATE

Pupil Questionnaire

(Purpose of this question is to determine the child's frame of reference, i.e., how

broad is his perspective.)

2. Is there anything you don't like about music?

(An extension of question #1)

3. Listening Example -

3A. What can you say about this music? (H. Partch - "Petals Fell")

(To assess analytical, judicial, and creative thinking.)

3B. Would you like to hear it again sometime?

yes no don't know

(To assess the child's disposition to new musical situations.)

3C. Why?

(To determine whether the child can relate to musical characteristics found in the

example.)

4. How do you feel about making music of your own?

(To assess operational power: a) Does the child see himself as an imaginative and

creative person?

b) To what extent is the child involved as a musician

i.e., composer/performer/conductor/critic?

c) To identify attitudes related to this activity.)

23

CENTRAL ATLANTIC:REGIONAL EDUCATIONAL LABORATORY

AURAL TESTING PROCEDURE

REASONS FOR ADMINISTERING THE AURAL TEST

1. To assess the child's level of operation

2. To measure the child's sensitivity to a musical stimulus, viz., ostinato

t Test A

1. Allow two minutes for exploration of the xylophone.(to measure the child's degree of freedom.)

2. Read: "one of our submarines has spotted an enemyr ship. The emergency bell isringing."

3. Listen to the tape loop. speed 7 1/2

4. Read: "Using the xylophone, describe what the men do as they report to theirbattle stations."

5. Record 1-minute

A. Teacher's name

B. Student's name

C. Improvisation

Test B

1. Allow two minutes for exploration of the xylophone.

2. Read: "A submarine is stuck at the bottom of the ocean."

3. Listen to the tape loop. speed 3 3/4

4. Read: "Using the xylophone, describe how the men and women on board feel."

5. Record 1-minute.

A. Teacher's name

B. Student's name

C. Improvisation

AURAL TESTING PROCEDURE

TEST C - continued

1. Allow two minutes for exploration of the xylophone.(to measure the child's degree of freedom.)

2. "Listen to the sounds on the tape." 3 3/4 "Pure" (no Programmatics)

3. "As you listen to it a second time play along with it adding on the xylophone

whatever sounds you wish."

4. Record 1-minute

A. Teacher's name

B. Student's name

C. Improvisation

25


Pre and Post-Tests

Mrs. Taft nursery Pre-test Post-test

1. James Walden C A2. Philippe Ahoua B* C

3. Catherine Schwitz C* A*4. Lisa Behreus A* C*5. Caroline Taft B* Absent6. Caroline Earle A* Absent

Miss Jackson kindergarten

1. Pierre Mills A C

2. Cheryl Crawford B C

3. Alison Hayes B C

4. Dana Lawrence C A5. Crystal Carter C A6. Kevin Waller A* C*

Mrs. West kindergarten (Control Class)

1. Frank Simpson2. Carolyn Stevens3. Karen Smalls4. Angela Robinson5. Shawn Graham C*

6. Reubin Atkins C*

Mrs. Minton - non-graded (1 and 2)

1. Marc Walsh A C

2. Ricky Pryor B C

3. David Steiverse B C

4. Willie Brooks C A5. Carrol Silvester C A6. Guy Plumber A* Absent

Mrs. Francis grade 2

1. Joseph Bowie A C

2. Marcia Linder A C

3. Donna White B C

4. Brian Duarte B Absent

(Continued)

* pupil unresponsive

26

Mrs. Francis - grade 2 (continued)

5. Tevin Givins6. Timothy Harris

Mrs. Wilson grade 2

Pre-test Post-test

C AC Absent

1. Valerie Fowler A C2. Gregory Clark A Absent3. Joyce Campbell B* C4. Adrian Scott B* Absent5. Wanda Williams C* A6. Ann Marie Skretting C* A

Mrs. Daye non-graded (1 and 2)

1. Robert Cooper A Absent2. Darren Toyer A C3. Barbara Houston B C4. Darius King B C5. James Reed C A6. Linda Boddie C A

Mrs. Ploss grade 2

1. Verna Bright A Absent2. Rodney Lambert A C3. David McNeill B C4. Sherman Ager B C5. William Clark C A6. Richard Cummings C A

Mrs. Jordan - grade 2 (Control class)

1. Robin Byrd2. Daryl Wilson3. Melva Sneed4. Carolyn Fauntleroy5. Sharon Norwood

Miss Bryan grade 3

1. Gary Clark C Absent2. Ricardo Delgado C A3. Orlando Lopez B C4. Cheri Carter B C


27

Miss Bryan grade 3 (continued)

5. Christie Fitzgerald6. Margarine Parker

Mrs. Cornellius grade 3 (Control class)

Pre-test Post-test

AA

C

C

1. Allison Bowan C

2. Brian Fitch C

3. Elizabeth Saunders C

4. Wade Grubik C

5. Kelly Gardner C

6. Daniel Powers C

Mrs. Robinson grade 4

1. Vanessa Neal B* Absent

2. Sharon Manning C Absent

3. Michael Thee C Absent

4. Milicent Wright A Absent

5. Carolyn Wood A C

6. Daryl Younger B Absent

7. Michele Hanson C

8. Donald Askew C

Mrs. Morgan - grade 4 (Control class)

1. Michael Godbalt2. Richard Jones3. Samuel Dennison4. Seveia Wilson

Mr. Bryan grade 6

1. Paul Brown A2. Donald Halleman A3. Charles Stout4. Betty Detzel5. Thomas Zang6. Mark Wingate


28

C

C

C

C

C

AbsentC

AbsentAA


CAREL Music Curriculum Presentations

1. National Council of the Arts in Education, Sarah Lawrence College,

September, 1968.

2. Delaware State Music Educators Association Annual Conference,

October, 1968.

3. Arizona State Music Educators Association Annual Conference,

November, 1968.

4. The University of California at Berkeley, November, 1968.

5. Music Educators National Conference All-Eastern Conference, Washington, D.C.,

January, 1969.

6. Pennsylvania State University, February,1969.

7. New York State University, College at Fredonia, March, 1969.

8. East Silver Spring Elementary School PTA, Silver Spring, Md., March, 1969.

9, National Association of Elementary School Principals, Las Vegas,

April, 1969.

10. University of Maryland, May, 1969.

29

41-

CAREL ARTS AND HUMANITIES CURRICULUM DEVELOPMENT PROGRAM

Visual Arts

Dance

Irving Kaufman Component DirectorMary Louise GraysonSharon A. Jones

Geraldine Dimondstein Component DirectorNaima Prevots

Literature

Music

Benjamin DeMott Component DirectorJeanette AmidonLucille CliftonSam CornishMaxine Kumin

Americole Biasini Component DirectorLenore M. Pogonowski

Theatre

Robert Alexander Component DirectorStevanne AuerbachNorman GevanthorKennetn Kitch

Central Atlantic Regional Educational Laboratory1200 Seventeenth Street, N.W.

Washington, D.C. 20036

C. Taylor Whittier Executive. Director

Martin Dishart Program Director

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